Maybe I am mistaking the deterioration of old film for lack of technology. Its indeed very apparent the difference in the quality of the images from Bridge on River Kwai 1957 and Lora 2012. And I watched both movies on the same day. Modern directing techniques also improved the perception of the film as well. Today the camera is much more aggressive than it was 60 years ago, giving a more "immersive" feel: in Lora I felt like I was in there, while in Bridge of River Kwai it felt more like watching theater.
However, I wouldn't say I haven't watched many "old" movies, movies from >50 years ago plus I watched hundreds already. You should be more careful before you accuse someone of ignorance. And these old movies all feel kinda "old", perhaps because the film has deteriorated I guess but also the color and direction has changed a lot as well. Well, with the accumulation of knowledge of direction techniques plus the technological advances allows for greater image quality combined with more immersive direction in modern movies compared to movies from 70 years ago. And in additional old film degrade, making it ever harder for the old film. So there is indeed a difference that is partly but not completely due to deterioration of film.
However, I wouldn't say I haven't watched many "old" movies, movies from >50 years ago plus I watched hundreds already. You should be more careful before you accuse someone of ignorance. And these old movies all feel kinda "old", perhaps because the film has deteriorated I guess but also the color and direction has changed a lot as well. Well, with the accumulation of knowledge of direction techniques plus the technological advances allows for greater image quality combined with more immersive direction in modern movies compared to movies from 70 years ago. And in additional old film degrade, making it ever harder for the old film. So there is indeed a difference that is partly but not completely due to deterioration of film.
For me, the highest peaks in cinematography are Sternberg's 30s films with Marlene Dietrich, Dreyer's Gertrud, Tati's Playtime, and Rohmer(and Marie Rivere!!)'s The Green Ray. And the most interesting modern cinematography being Pedro Costa's In Vanda's Room and Colossal Youth, both made on cheap, low-res digital cameras (the use of color in these films is like owah). I don't see cinematography as something that gets better as the recording technology changes. For me, the best cinematography is a personal use of technique and an understanding and desire to discover through images.
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Mubi
Mubi