The Psychology of Cinematography:
Wes Anderson, David Fincher, Darren Aronofsky, Quentin Tarantino & Stanley Kubrick
These are all shots where the emphasis is on the entirety of the shot as a whole and provides a much more distant kind of view, allowing the goings on to register as it is instead of having a specific cinematic mood attached.
I’ve never heard anyone say not to try for symmetry in your shots, but I was told to be aware of the psychological effect it has on audiences. This little reel is a prime example of how off-putting symmetry can be in motion picture photography. Even in the ones in which there is no immediate danger or horror present. You feel like there’s something wrong in every one of these shots. You can’t put your finger on it, but you know things aren’t quite right. The psychology of symmetry is used whenever a filmmaker wants to put an audience at unease. Which, as you can see, was often.
This concept can be applied to many other concepts and styles of cinematography such as Look down, look up, Hiphop cuts, mood lighting etc.
These are some of my favorite examples cinematography put in a gif set.