okay by my method
Step-by-step explanation:
One-point perspective and symmetry as an expressive art form in film sometimes overlap. Professor Louis Thonsgaard from the University of Aarhus has described symmetry as:
…material being organized in such a way that it conveys a sense of unity through repetition of one or more elements.
Meanwhile, one-point perspective works by placing the camera perspective directly opposite from the horizon line and vanishing point. Filmmakers like Paul Thomas Anderson, Wes Anderson, and Stanley Kubrick make use of one-point perspective and symmetry in cinematography to frame the action within a scene.
Stanley Kubrick and One-Point Perspective
Stanley Kubrick is widely thought of as a genius filmmaker and a master of film composition. Kubrick would use this type of composition to elicit a phycological reaction, to place the audience in an uncomfortable state, as this is the natural reaction to this type of framing. The following video from Vimeo user kogonada has made the rounds several times, but that’s only because it presents the best evidence for Kubrick and one-point perspective.
Like many other modern artistic fields, the use of perspective and symmetry in filmmaking is not well-documented, despite the fact that perspective is crucial for the understanding cinematography. Since perspective was first developed for drawing and painting, centuries before filmmaking was invented, it is no surprise to us that not many people had developed this deeply established subject to include the new art forms that have arisen over the past century. Moreover, as a camera can faithfully reproduce images, it would that perspective learning materials are unnecessary.
Yet, today’s technology requires knowledge that focuses less on drawing methods and more on understanding what it means to see things from different perspectives. Hence, it is essential that professional in the visual arts like film directors can grasp how perspective works in order to present imagery effectively to the audience. Perspective, therefore, is a fundamental subject to study for filmmakers, even where imagery is captured by lenses instead of pens and papers.
