One could argue that the emergence of Chaos Cinema signifies a decline in filmmaking or reflects changes in society. Matthias Stork, in Chaos Cinema Part II (2012), critiques this trend as an extreme evolution of David Bordwell’s intensified continuity. Bordwell’s concept describes modern filmmaking’s reliance on rapid editing, bipolar lens lengths, close framings, and dynamic camera movements to intensify visual impact. However, Stork argues that chaos cinema takes these techniques to disruptive extremes. By prioritizing fragmented editing and sensory overload over spatial and narrative clarity, it sacrifices coherence. This “shotgun aesthetic,” characterized by a constant barrage of climatic moments, replaces methodical storytelling with chaotic visual spectacle, making films feel disjointed and overwhelming (Shaviro, 2016, p. 54-55).

From this perspective, Stork sees chaos cinema as emblematic of a decline in filmmaking quality. He contends that this trend allows filmmakers to mask a lack of skill with visual excess, eroding the thoughtful craftsmanship that once defined cinema.

Steven Shaviro offers a contrasting view in Post-Continuity: An Introduction (Post-Cinema: Theorising 21st Century Film).  He contends that rather than being viewed as essential, continuity norms are only sporadically and opportunistically applied in post-continuity films. Though it is expressed in space and time that are no longer classical but rather relativised or unhinged, narrative is not abandoned. He also argues that the perceived chaos in contemporary films mirrors the broader messiness of our society, shaped by rapid technological and cultural shifts. In his view, this “post-continuity” style reflects our postmodern, post-literate era, where narrative coherence is no longer central. Instead, new tools like digital media and internet-based technologies enable fresh expressive possibilities, aligning cinema with the fragmented and globalized nature of neoliberal capitalism (Shaviro, 2016, pp. 55–60).

Ultimately, whether chaos cinema represents a decline or evolution depends on perspective. It may signify a loss of traditional clarity but also reflects contemporary culture’s complexity, offering a distinct aesthetic of our time.

BIBLIOGRAPHY

• Chaos Cinema Part II, 2012[Video Essay], Dir. Matthias Stork, available here and elsewhere: https://vimeo.com/metafilm
• Steven Shaviro, ‘Post-Continuity: An introduction’, Post-Cinema: Theorising 21^st Century Film, 51-64

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