When used to achieve an artistic aesthetic quality jump cuts and dynamic camera movement can be effective. Martin Scorsese's Goodfellas immediately comes to mind. But Scorsese also used long fluid continuous shots effectively in that same film too. Also, the "you talkin' to me?" scene from Taxi Driver is a good example of the great things that come about when you just leave the damn camera alone!
In most film circles it's unfortunate that Hitchcock doesn't get the respect he deserves for being probably the most innovative director when it comes to making the camera a character in his films. For some reason, Orson Wells is more revered in that regard I guess for his work in Citizen Kane which was a good movie and deserves 'Classic' status but IMO not "the best movie ever made." Let's not forget, Hitchcock developed the, now overused, dolly zoom shot otherwise known as the Vertigo Shot from the film where it was first used. It was kind of a trademark Hitchcock shot and was never used by anyone else until Steven Spielberg resurrected it in Jaws; the scene where the little boy is attacked by the shark and the camera zooms in on Brody's face while it dollys out at the same time.
One other thing about Barry Lyndon. It's generally believed that the lenses were specially designed for the film during the lowlight sequences. Actually, the lenses were specially designed for NASA during the Lunar projects. The lens mounts to the camera housing were specially designed for the film because they were not compatible to any standard motion picture camera at the time. This proved to be quite a challenge for the filmmakers because they had a hard time trying to find film stock that would accommodate the lightning fast lenses and somewhat match the rest of the movie. Yeah, Kubrick will be missed. He's the quintessential auteur.