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* A very effective use in ''Film/{{Jaws}}'' when Brophy 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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* ''Film/{{Strike}}'': An unusual use of this effect occurs when a spy is shown running down a sidewalk, with the left side of the screen simply blacked out, like an unfinished wipe. The wipe is finally completed, revealing the men who are chasing him in the left side of the frame.


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[[quoteright:350:[[Film/Halloween1978 http://static.tvtropes.org/pmwiki/pub/images/halloween_michael_laurie_twoshot.png]]]]


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 an empty chair or a deep impression left in a bed filling in.

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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 chair]] or a deep impression left in a bed filling in.


* Used frequently in ''Film/{{Harvey}},'' for non-sinister reasons.

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* Used frequently in ''Film/{{Harvey}},'' ''Theatre/{{Harvey}},'' for non-sinister reasons.


* In Creator/TomSavini's remake of ''{{Night of the Living Dead}}'', something does lunge into the frame, but from the wrong side.

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* In Creator/TomSavini's remake of ''{{Night of the Living Dead}}'', ''Film/NightOfTheLivingDead1990'', something does lunge into the frame, but from the wrong side.


* An example of the melancholy sort: In Act 3 of ''DrHorriblesSingAlongBlog'', there is a scene of Penny sitting in the laundromat with two frozen yogurts, waiting for Billy, who isn't showing up.

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* An example of the melancholy sort: In Act 3 of ''DrHorriblesSingAlongBlog'', ''WebVideo/DoctorHorriblesSingAlongBlog'', there is a scene of Penny sitting in the laundromat with two frozen yogurts, waiting for Billy, who isn't showing up.



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* Used frequently in ''Film/{{Harvey}},'' for non-sinister reasons.


* Made famous by ''Film/{{Halloween 1978}}'': Throughout the first half of the movie, [[JamieLeeCurtis Laurie]] is repeatedly framed in this fashion, to suggest to the viewer that someone is about to fill the empty space. Towards the end, the setup is finally paid off when Michael Myers emerges from the closet to attack her.

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* Made famous by ''Film/{{Halloween 1978}}'': Throughout the first half of the movie, [[JamieLeeCurtis [[Creator/JamieLeeCurtis Laurie]] is repeatedly framed in this fashion, to suggest to the viewer that someone is about to fill the empty space. Towards the end, the setup is finally paid off when Michael Myers emerges from the closet to attack her.

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* ''Film/{{Clue}}'' has a scene where Miss Scarlet, left alone in the ballroom, nervously checks to see if the mystery killer is [[CurtainCamouflage hiding behind the curtains]]. This is made even creepier by the brief tracking shot over her shoulder, which upon first viewing lends the sensation that we're about to see someone come up behind her.


* In ''WesternAnimation/{{Shrek}}'', this is 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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* In ''WesternAnimation/{{Shrek}}'', this is used twice to show how alone Shrek and Fiona feel after their big fight. Fiona is shown sitting at an otherwise unoccupied table, with Made famous by ''Film/{{Halloween 1978}}'': Throughout the table in the center first half of the shot. This movie, [[JamieLeeCurtis Laurie]] is immediately followed by Shrek sitting at his table, on repeatedly framed in this fashion, to suggest to the opposite side (from viewer that someone is about to fill the camera's perspective).empty space. Towards the end, the setup is finally paid off when Michael Myers emerges from the closet to attack her.



* Made famous by ''Film/{{Halloween 1978}}'': Throughout the first half of the movie, [[JamieLeeCurtis Laurie]] is repeatedly framed in this fashion, to suggest to the viewer that someone is about to fill the empty space. Towards the end, the setup is finally paid off when Michael Myers emerges from the closet to attack her.
* An example of the melancholy sort: In Act 3 of DrHorriblesSingAlongBlog there is a scene of Penny sitting in the laundromat with two frozen yogurts, waiting for Billy, who isn't showing up.
* Another melancholy example occurs several times in ''WesternAnimation/{{Up}}'', whenever Carl sits in his recliner, positioned beside his late wife's.


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* An example of the melancholy sort: In Act 3 of ''DrHorriblesSingAlongBlog'', there is a scene of Penny sitting in the laundromat with two frozen yogurts, waiting for Billy, who isn't showing up.

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* In ''WesternAnimation/{{Shrek}}'', this is 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).
* Another melancholy example occurs several times in ''WesternAnimation/{{Up}}'', whenever Carl sits in his recliner, positioned beside his late wife's.


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, RogerEbert).

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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, RogerEbert).
Creator/RogerEbert).



* In ''{{Shrek}}'', this is 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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* In ''{{Shrek}}'', ''WesternAnimation/{{Shrek}}'', this is 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).


* In Tom Savini's remake of ''{{Night of the Living Dead}}'', something does lunge into the frame, but from the wrong side.

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* In Tom Savini's Creator/TomSavini's remake of ''{{Night of the Living Dead}}'', something does lunge into the frame, but from the wrong side.

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