I love studying film too by breaking them apart (not as in depth as you - just by watching commentaries and also by trying to do my own shot by shot asking myself why they used particualr angles) And although I pretty much figured out what camera positions to use and for what reasons (if I ever got a chance to make a film)and also how to integrate theme and motiffs into film, I always was a little perplexed as to how good directors decide to simply place people in any particular frame for any given scene. And I was just reading Roger Ebert's theory about left and right side of the frame. Right is dominant and powerful and left being either weak or negative. The ideal shot is just right of center and to the right of that is a more positive or powerful character and to the left of center is negative or weak or off balance. And that goes for camera movement as well for left or right too. In the Graduate Benjamin is moving left a lot (the opening sequence is a good example) and the opening of Raging Bull has has Lamotta in the extreme left shadow boxing. But I notice this works for Pulp Fiction too just from the still frames you've used. It seems to work. Look at the frames and see who is on the left and right, and it works. Travolta's character is usually to the left of Jules, but here with Butch he's on the right showing some dominance (even though they both have equal positioning)in this scene because this is more his turf than Butch's. This rule is not an absolute and just a rule of thumb  as Ebert sats but it seems to work with good directors' movies even though Ebert is not sure they even teach it in film school. Though he has been teaching it in his classes since 1969.