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* ''Film/{{Heathers}}'':
** This kind of shot is used throughout the whole movie to represent which character is influencing which.
*** In the first act, when Veronica's main TheCorrupter influence is Heather Chandler, every time Veronica undertakes independent action (such as the first time she spots J.D. and goes to flirt with him), Chandler's approach is signaled by Veronica's sided placing in the shot. Shortly after that, it becomes a regular two-character shot of her and Chandler interacting.
*** Veronica and J.D.'s dynamic in these shots is the opposite. They start in a two-shot but then Veronica leaves to do something else. This action matches the times when J.D.'s sociopathic side comes to light. First, when he notices Veronica's taken the wrong mug, debates with himself about telling her, and finally decides not to. Then, in the aftermath of their accidental murder of Chandler, when he's flippant about it while Veronica panics.
** During the scene in which Veronica seduces Ram and Kurt by phone call, the final lines of dialogue are delivered in intercalary shots of Veronica and Kurt talking on the phone on opposite sides of the screen.
** This kind of shot is used throughout the whole movie to represent which character is influencing which.
*** In the first act, when Veronica's main TheCorrupter influence is Heather Chandler, every time Veronica undertakes independent action (such as the first time she spots J.D. and goes to flirt with him), Chandler's approach is signaled by Veronica's sided placing in the shot. Shortly after that, it becomes a regular two-character shot of her and Chandler interacting.
*** Veronica and J.D.'s dynamic in these shots is the opposite. They start in a two-shot but then Veronica leaves to do something else. This action matches the times when J.D.'s sociopathic side comes to light. First, when he notices Veronica's taken the wrong mug, debates with himself about telling her, and finally decides not to. Then, in the aftermath of their accidental murder of Chandler, when he's flippant about it while Veronica panics.
** During the scene in which Veronica seduces Ram and Kurt by phone call, the final lines of dialogue are delivered in intercalary shots of Veronica and Kurt talking on the phone on opposite sides of the screen.
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The Half-Empty Two-Shot is a narrative framing technique usually found in [[PlayedForHorror horror]] and suspense films/shows, in which a shot of one character is composed asymmetrically as if the character is in a two-shot with an invisible second character. It creates narrative tension by making the viewer expect someone (or some ''thing'') to lunge into the frame and balance the composition. In this context, it is also known as the "Bogeyman Shot" (thanks, Creator/RogerEbert).
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The Half-Empty Two-Shot is a narrative framing technique usually found in [[PlayedForHorror [[RuleOfScary horror]] and suspense films/shows, in which a shot of one character is composed asymmetrically as if the character is in a two-shot with an invisible second character. It creates narrative tension by making the viewer expect someone (or some ''thing'') to lunge into the frame and balance the composition. In this context, it is also known as the "Bogeyman Shot" (thanks, Creator/RogerEbert).
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* ''Series/{{Sadakatsiz}}'': When Doctor Asya reveals to the Güçlüs that their daughter Derin has been Asya's husband's mistress for two years and that Derin is pregnant by Volkan, she leaves them all to stew on the revelation. During the whole scene, Volkan is shot paired with his wife Asya; the latter's departure is marked by a brief shot of Volkan regretfully sitting alone on the right side of the screen. This also means that Asya no longer views herself and Volkan as a couple.
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* ''Anime/PuellaMagiMadokaMagicaTheMovieWalpurgisnachtRising'': In the trailer, the three secondary members of the Holy Quintet are introduced in quick succession over a RedSkyTakeWarning cityscape. Kyoko is placed at the center of her shot but Mami and Sayaka are respectively shown on the left and right sides, leaving the rest of their shots conspicuously empty. What this might mean is yet to be disclosed.
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* ''WesternAnimation/WinxClub'': The first season's credits feature an official art of each girl alongside a miniature of the boy they're going to be romantically paired. However, Flora only gets a pumpkin with eyes as if suggesting that either pumpkin is her LoveInterest or she won't get one this season. [[spoiler:The trope is ultimately {{subverted}} after Mirtha is turned into the exact same pumpkin as the credits' miniature. Initially, it was meant as foreshadowing for the romantic undertones of the two girls' friendship.]]
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* ''WesternAnimation/WinxClub'': The first season's credits feature an official art of each girl alongside a miniature of the boy they're going to be romantically paired. However, Flora only gets a pumpkin with eyes as if suggesting that either pumpkin is her LoveInterest {{Love Interest|s}} or she won't get one this season. [[spoiler:The trope is ultimately {{subverted}} after Mirtha is turned into the exact same pumpkin as the credits' miniature. Initially, it was meant as foreshadowing for the romantic undertones of the two girls' friendship.]]
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Compare JuxtaposedHalvesShot, when half of two characters' sides are juxtaposed to or beside each other; MediumTwoShot, a two-character shot that frames their heads and torsos; and LowAngleEmptyWorldShot, another shot in which emptiness of a portion of the frame is conspicuous --this time, to make a busy area look deserted. It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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Compare JuxtaposedHalvesShot, when half of two characters' sides are juxtaposed to or beside each other; MediumTwoShot, a two-character shot that frames their heads and torsos; and LowAngleEmptyWorldShot, another shot in which emptiness of a portion of the frame is conspicuous --this conspicuous--this time, to make a busy area look deserted. Contrast SplitScreen, two or more shots shown on-screen at the same time.
It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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[[AC:Western Animation]]
* ''WesternAnimation/WinxClub'': The first season's credits feature an official art of each girl alongside a miniature of the boy they're going to be romantically paired. However, Flora only gets a pumpkin with eyes as if suggesting that either pumpkin is her LoveInterest or she won't get one this season. [[spoiler:The trope is ultimately {{subverted}} after Mirtha is turned into the exact same pumpkin as the credits' miniature. Initially, it was meant as foreshadowing for the romantic undertones of the two girls' friendship.]]
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Zero-context example.
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[[AC:Theatre]]
* ''Theatre/{{Harvey}}'': Used frequently to keep Harvey in-frame.
* ''Theatre/{{Harvey}}'': Used frequently to keep Harvey in-frame.
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*
%%* ''Theatre/{{Harvey}}'': Used frequently to keep Harvey in-frame.
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* ''WesternAnimation/TurningRed'': Ming is shown in the temple sweeping the floor alone during the panda hustle montage to show that Mei isn't spending time with her as she had been shown to do before. One half of the screen is empty and Mei's broom is seen lying unused. Ming stares longingly at it.
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* ''WesternAnimation/TurningRed'': During the 'panda hustle' montage, there's a brief shot of Ming in the temple, kneeling in front of Sun Yee's shrine. It's a direct echo of a shot from earlier in the movie that showed Ming and Mei kneeling and saying their devotions to Sun Yee -- but this time Ming is shown in alone. Mei isn't there, and Ming is looking sadly at the temple sweeping the floor alone during the panda hustle montage to show empty cushion. It shows that Mei isn't spending time with her mother as she had been shown to do before. One half of the screen is empty before, and Mei's broom is seen lying unused. Ming stares longingly at it.misses her.
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Compare JuxtaposedHalvesShot, when half of two characters' sides are juxtaposed to or beside each other, and MediumTwoShot, a two-character shot that frames their heads and torsos. It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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Compare JuxtaposedHalvesShot, when half of two characters' sides are juxtaposed to or beside each other, and other; MediumTwoShot, a two-character shot that frames their heads and torsos.torsos; and LowAngleEmptyWorldShot, another shot in which emptiness of a portion of the frame is conspicuous --this time, to make a busy area look deserted. It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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* ''Film/ANightmareOnElmStreet1984'': In one scene, Nancy is exploring an empty house trying to prove Freddy's existence, as she's still reeling from the nightmares and thinks she can feel him stalking her now that she's awake. Most shots position Nancy very conspicuously in just one half of the frame, leaving in suspense just when will Freddy materialize.
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Created new section for Live-Action TV
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* ''Film/NightOfTheLivingDead1990'': {{Subverted}}. Something does lunge into the frame but from the side that is already occupied by a character.
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* ''Film/NightOfTheLivingDead1990'': {{Subverted}}. Something does lunge into the frame frame, but from the side that is already occupied by a character.
[[AC:Live-Action TV]]
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* ''WesternAnimation/TurningRed'': Ming is shown in the temple in this way during the panda hustle montage to show that Mei isn't spending time with her as she had been shown to do before.
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* ''WesternAnimation/TurningRed'': Ming is shown in the temple in this way sweeping the floor alone during the panda hustle montage to show that Mei isn't spending time with her as she had been shown to do before.before. One half of the screen is empty and Mei's broom is seen lying unused. Ming stares longingly at it.
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Redundancy
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* Creator/TomSavini: In his remake of ''Film/NightOfTheLivingDead1990'', something does lunge into the frame, but from the wrong side.
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[[AC:Fan Works]]
* ''Fanfic/DifferentTalesDifferentLessons'': In the 13th vignette, Xiulan's [[spoiler:dream of]] marriage with Zhuang ends with Xiulan waking up alone in her bed, no husband whatsoever.
* ''Fanfic/DifferentTalesDifferentLessons'': In the 13th vignette, Xiulan's [[spoiler:dream of]] marriage with Zhuang ends with Xiulan waking up alone in her bed, no husband whatsoever.
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The Half-Empty Two-Shot is a narrative framing technique usually found in horror and suspense films/shows, in which a shot of one character is composed asymmetrically, as if the character is in a two-shot with an invisible second character. It creates narrative tension by making the viewer expect someone (or some ''thing'') to lunge into frame and balance the composition. In this context, it is also known as the "Bogeyman Shot" (thanks, Creator/RogerEbert).
It's also sometimes used in melancholy contexts: the person that should be in the other side of the frame isn't there because he's ''dead'', or missing, often with [[EmptyChairMemorial an empty chair]] or a deep impression left in a bed filling in.
It's also sometimes used in melancholy contexts: the person that should be in the other side of the frame isn't there because he's ''dead'', or missing, often with [[EmptyChairMemorial an empty chair]] or a deep impression left in a bed filling in.
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The Half-Empty Two-Shot is a narrative framing technique usually found in horror [[PlayedForHorror horror]] and suspense films/shows, in which a shot of one character is composed asymmetrically, asymmetrically as if the character is in a two-shot with an invisible second character. It creates narrative tension by making the viewer expect someone (or some ''thing'') to lunge into the frame and balance the composition. In this context, it is also known as the "Bogeyman Shot" (thanks, Creator/RogerEbert).
It's also sometimes used in melancholy contexts: the person that should bein on the other side of the frame isn't there because he's ''dead'', or missing, often with [[EmptyChairMemorial an empty chair]] or a deep impression left in a bed filling in.
It's also sometimes used in melancholy contexts: the person that should be
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Compare JuxtaposedHalvesShot (half of two characters' sides are juxtaposed to or beside each other) and MediumTwoShot (a two-character shot that frames their heads and torsos). It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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Compare JuxtaposedHalvesShot (half JuxtaposedHalvesShot, when half of two characters' sides are juxtaposed to or beside each other) other, and MediumTwoShot (a MediumTwoShot, a two-character shot that frames their heads and torsos).torsos. It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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Compare JuxtaposedHalvesShot (where the screen is split down the middle and shows half of two characters, creating the illusion of there being only one character) and MediumTwoShot (a two-character shot that frames their heads and torsos)q.
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Compare JuxtaposedHalvesShot (where the screen is split down the middle and shows half (half of two characters, creating the illusion of there being only one character) characters' sides are juxtaposed to or beside each other) and MediumTwoShot (a two-character shot that frames their heads and torsos)q.torsos). It often overlaps with NothingIsScarier, when emptiness is used to invoke fear by leaving it to the audience's imagination.
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* ''WesternAnimation/Shrek1'': Shots like this are used twice to show how alone Shrek and Fiona feel after their big fight. Fiona is shown sitting at an otherwise unoccupied table, with the table in the center of the shot. This is immediately followed by Shrek sitting at his table, on the opposite side (from the camera's perspective).
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* ''WesternAnimation/Shrek1'': Shots like this are used twice to show how alone Shrek and Fiona feel after their big fight. Fiona is shown sitting at an otherwise unoccupied table, with the table in the center of the shot. This is immediately followed by Shrek sitting at his table, on the opposite side (from the camera's perspective). This shows that despite being apart and expecting to never see each other again, they are still very much on each other's minds. Fiona even begins to cry.
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* ''Film/{{Jaws}}'': When Brody is on the right side of the frame, flipping smelly chum into the water, mumbling irritably as he does it, the left side of the frame containing nothing but the gunwale of the boat and the ocean. This sets up one of the most famous {{Jump Scare}}s ever, as the shark comes leaping out of the water on the left side.
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* ''Franchise/{{Jaws}}'':
** ''Film/{{Jaws}}'': When Brody is on the right side of the frame, flipping smelly chum into the water, mumbling irritably as he does it, the left side of the frame containing nothing but the gunwale of the boat and the ocean. This sets up one of the most famous {{Jump Scare}}s ever, as the shark comes leaping out of the water on the leftside.side.
** ''Film/Jaws2'': When the shark attacks the helicopter, it is filmed from inside the cockpit, looking out past the pilot with the shark rising suddenly from the water in the background. (Not entirely unlike its use in the first film, actually.)
* ''Film/NightOfTheLivingDead1990'': {{Subverted}}. Something does lunge into the frame but from the side that is already occupied by a character.
** ''Film/{{Jaws}}'': When Brody is on the right side of the frame, flipping smelly chum into the water, mumbling irritably as he does it, the left side of the frame containing nothing but the gunwale of the boat and the ocean. This sets up one of the most famous {{Jump Scare}}s ever, as the shark comes leaping out of the water on the left
** ''Film/Jaws2'': When the shark attacks the helicopter, it is filmed from inside the cockpit, looking out past the pilot with the shark rising suddenly from the water in the background. (Not entirely unlike its use in the first film, actually.)
* ''Film/NightOfTheLivingDead1990'': {{Subverted}}. Something does lunge into the frame but from the side that is already occupied by a character.
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* ''Series/WhiteCollar'': In [[Recap/WhiteCollarS06E06AuRevoir "Au Revoir"]], when Peter imagines Neal’s reflection in the window one year after his death, Neal’s reflection takes up the left half of the frame.
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* ''Theatre/{{Harvey}}'': Used frequently for non-sinister reasons.
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* ''Theatre/{{Harvey}}'': Used frequently for non-sinister reasons.
to keep Harvey in-frame.
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->'''Mike Stoklasa''': [[ObfuscatingStupidity Ohmigosh, Rich? Rich? Rich?]] Why is there so much space on the right side of the frame? Rich, why-why is there a distracting amount of space on the right side of the frame?!\\
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->'''Mike Stoklasa''': [[ObfuscatingStupidity Ohmigosh, Rich? Rich? Rich?]] Why is there so much space on the right side of the frame? Rich, why-why why--why is there a distracting amount of space on the right side of the frame?!\\
