The Void

Void and Illegal Contracts Void Contracts Void contracts are basically those which contravene a provision in a statute or are contrary to public policy at common law but to which the ex turpi causa principle does not apply. Void by Statute A statute may declare expressly that a particular contract is void, eg s 45 of the Trade Practices Act 1974 which provides that clauses purporting to exclude, restrict, or modify the liability of a corporation imposed by Division 2 Part V of the Act (that

Enter The Void (2010) is a film about a young man, Oscar who lives with his sister in Tokyo, Japan. He is shot dead by police whilst taking hallucinogenic drugs and becomes trapped in an intermediate state of existence; his soul drifting high above the streets of the red-light district of Tokyo watching over his now completely alone sister on a hallucinatory journey, intoxicated, neon-lit with daring aesthetics that have to be seen to be believed. Gasper Noé is a director who is never afraid of unnerving

me would have been the same. I was hollow, and no amount of someone else's blood would fill me. And so I stood, staring, letting that numbness overtake my essence. I found it easier to feel nothing than to feel at all, and accepted that emotionless void without question. I felt my body recoil from my attack, pressing my weight onto my hind legs. My body felt it, but my mind did not. I let my head fall lower, tucking it away from Sparky. Hide, hide, hide, become nothing.

about Voids  Introduction: Berlin as Void In an official advertisement campaign of 1996, there was a slogan written all over the city: "Berlin wird" (Berlin becomes). But "Berlin becomes what"? Instead of a proper predicate, we get a verbal void. In the worst scenario, as Karl Scheffler wrote at the end of his classic 1910 portrait of the city, Berlin may "forever to become and never to be." The twentieth-century urban history of Berlin was largely associated with the concept of voids. The

universe, nor our stars or even our planet. It became lonely and sought to end its existence and die, so it tore itself in two, and so it was that there was no longer nothing, but something. The Void and the Light had taken its place, the two opposites, the only things there was for an eternity. The Light and the Void mixed freely, they enjoyed the experience of each other, they loved each other, they consumed each other. So they grew, and continued their intermingling for eons and eternities until such

Sacrifice for the World Before the Earth was created, there were only five spirits roaming the emptiness of the Void. Human was the most peaceful spirit, for he was the only one who made any actual attempts to make peace among the others, Wind, Water, Fire, and Dirt (who all contributed to the emptiness ). Each day all the spirits, besides Human, would fight over dominance of creating their own separate world. It would have been a lot simpler if each spirit could just make their own world and

Pain, disadvantage, distress--suffering is a part of the daily life of people from all over. Throughout the film, Touching the Void, Simon experienced many psychological challenges that scarred him for life. Personal injury can involve more than just physical harm. Compared to Joe, who suffered physically, Simon had psychologically suffered more than the physical punishment that Joe had endured. Simon was faced with tough decisions that were life or death situations. When Simon cut the rope

Abstract Space: The Void in Vertigo’s Paintings There can be no discussion of Hitchcock’s distinctive filmic language and meticulous mise-en-scene without a discussion of his paintings. It is through the image of Vertigo’s Carlotta Valdes that Hitchcock identifies, projects, and explores our deepest anxieties about scopophilia, voyeurism, exploitation, and reality, and in the process, exposes the dark aspects of our characters that are often repressed. That concept of multiple identities is the

come lose and I am falling, falling, and all the way down I am screaming, "Stupid! You're so stupid! You climbed all the way up there just so you could fall back down!” Now there is a movie that is more frightening than my nightmares. “Touching the Void” is the most harrowing movie about mountain climbing I have ever seen. This semi-documentary I simply sat there in front of the screen, enthralled, fascinated and terrified. I don't know where to

Stanley Kubrick once said: “A film is – or should be – more like music than like fiction. It should be a progression of moods and emotions.” And what could be better than sound to alter people’s emotions and feelings? In “Void”, sound played such a significant role in the storytelling that you could understand the whole movie just by the sound of it. The importance of sound in enhancing our understanding of the story and its emotional impact on the audience is emphasized especially in the fourth