Throughout history artists have used whatever tools served their purposes and have adapted new technologies to their own creative ends. The history of painting, as the art critic James Elkins suggests in his book “What Painting Is,” is in part a history of the changing chemical composition of paint. It does not take a determinist to point out that artistic innovations in cinema often have a technological component. It takes nothing away from the genius of Gregg Toland, the cinematographer on “Citizen Kane,” to note that the astonishing deep-focus compositions in that film were made possible by new lenses. And the arrival of relatively lightweight, shoulder-mounted cameras in the late 1950s made it possible for cinéma vérité documentarians and New Wave auteurs to capture the immediacy of life on the fly.

Long before digital seemed like a viable delivery system for theatrical exhibition, it was an alluring paintbox for adventurous and impecunious cinéastes. To name just one: Anthony Dod Mantle, who shot many of the Dogma 95 movies and Danny Boyle’s zombie shocker “28 Days Later,” found poetry in the limitations of the medium. In the right hands, its smeary, blurry colors could be haunting, and the smaller, lighter cameras could produce a mood of queasy, jolting intimacy.

Image quality improved rapidly, and the last decade has seen some striking examples of filmmakers exploring and exploiting digital to aesthetic advantage. The single 90-minute Steadicam shot through the Hermitage Museum that makes up Alexander Sokurov’s “Russian Ark” is a specifically digital artifact. So is the Los Angeles nightscape in Michael Mann’s “Collateral” and the rugged guerrilla battlefield of Steven Soderbergh’s “Che,” a movie that would not exist without the light, mobile and relatively inexpensive Red camera.

Digital special effects, meanwhile, are turning up this season not only in phantasmagorical places like “Cloud Atlas” and “Life of Pi,” but also in movies that emphasize naturalism. To my eyes the most amazing bit of digital magic this year is probably the removal of Marion Cotillard’s legs — including in scenes in which she wears a bathing suit or nothing at all — in Jacques Audiard’s gritty “Rust and Bone.” While movie artists of various stripes gravitate toward the speed, portability and cheapness of digital, which offers lower processing and equipment costs and less cumbersome editing procedures, consumers, for their part, are suckers for convenience, sometimes — but not always — at the expense of quality.