Have we changed how we see, or has what we see changed? Every few years I see a film that was captured digitally, and I’m thrown back to the early days of the format, when the proto-Christopher Nolans of the world would tell any interviewer they could get their hands on that electronic media could never match the supple qualities of film; and digital practitioners (far more quietly) wondered if there might be aesthetic languages in the realm of the pixels that celluloid’s oil-painting methodology could never meet.
