Out of the Past is a 1947 film noir directed by Jacques Tourneur and starring Robert Mitchum, Jane Greer, Kirk Douglas. The film was adapted by Daniel Mainwaring from his novel Build My Gallows High, with uncredited revisions by Frank Fenton and James M. Cain. Film historians consider Out of the Past a superb example of film noir due to its complex, fatalistic storyline, dark cinematography, classic femme fatale; the film's cinematographer Nicholas Musuraca shot Tourneur's Cat People. In 1991, Out of the Past was added to the United States National Film Registry by the Library of Congress as being deemed "culturally or aesthetically significant." Joe Stefanos arrives in a small town, California, in search of Jeff Bailey. Jeff, owner of the town's gas station, is on a picnic with wholesome local girl Ann Miller. Stefanos sends Jeff's deaf young employee, The Kid, to retrieve Jeff informs Jeff that Whit Sterling wants to see him. Though Ann trusts Jeff implicitly, her parents are wary of him, as is Jim, a local police officer, sweet on Ann since childhood.
Jeff reluctantly agrees to meet with Whit, Ann joins him to drive through the night to Whit's home on Lake Tahoe. On the way, Jeff tells Ann of his past. Jeff Bailey's real name is Jeff Markham. Partner Jack Fisher and he were private investigators in New York. Jeff had been hired by shady businessman Whit to find Kathie Moffat. Whit claimed she stole $40,000 from him. Jeff is hesitant, sensing. Whit assures Jeff he just wants her back, will not harm her. Kathie's maid tells Jeff that she has gone to Florida, but Jeff guesses Mexico because of the particular inoculations Kathie received, he goes to Acapulco and waits striking up an acquaintance with her. A love affair develops, Jeff admits that he had been sent by Whit. Kathie has been spinning a web for him, she denies taking Whit’s money and pleads with Jeff to run away with her. Preparing to leave, Jeff is surprised by the arrival of Whit and Stefanos, checking up on his lack of progress. Jeff asks to be taken off the case. Jeff lies that Kathie is on a steamer going south.
Whit instructs Jeff to keep looking for her. They live in San Francisco as inconspicuously as possible, but an outing to the horse races goes bad when they are spotted by Jeff’s old partner, Fisher. Jeff and Kathie split up, with Jeff making himself conspicuous in moving to Los Angeles. Jeff seems to give Fisher the slip and rejoins Kathie at a rural cabin, only to find that Fisher had followed her; when Fisher demands money to keep quiet, the two men brawl. Kathie shoots Fisher dead and flees without Jeff, he finds her bank book, revealing a deposit of the money she had denied taking from Whit. Back in the present, Ann drops Jeff off at Whit's palatial estate. Jeff is surprised, she told the whole story. Whit tells Jeff. Whit's lawyer, Leonard Eels, has helped Whit dodge all taxes, but now wants $200,000 or he will give Whit's business records to the IRS, which would put Whit in prison. Whit wants Jeff to recover the records. In San Francisco, he meets Eels' secretary, Meta Carson, secretly conspiring with Whit.
He is introduced by her to Eels. Jeff finds Eels dead, he hides the body and retrieves the business records, but is told by the devious Kathie that she gave Whit a signed affidavit swearing that Jeff killed Fisher, setting up Jeff to be a double murderer—reported as such in the morning papers. Jeff returns to the Bridgeport area. Unbeknownst to Whit, Kathie has ordered Stefanos to trail The Kid so he can kill Jeff; the Kid drives to a narrow canyon where Jeff is hiding. The Kid spots Stefanos aiming a pistol at Jeff and hooks him with a fishing line, causing Stefanos to lose his balance and fall to his death. Jeff tells him of Kathie's double-cross and Stefanos's death, he offers that the death of Stefanos, Eels' actual murderer, can be made to look like a guilt-ridden suicide, removing Jeff from that frame-up. Furthermore, he will return the business records to Whit if Whit destroys Kathie's affidavit and hands her over to the police for Fisher's death. Whit takes the offer, Jeff believes he has worked his way out of the trap.
Jeff makes a quick visit to Ann returns to Tahoe to discover that Kathie has killed Whit. She gives Jeff the choice of running away with her and a satchel of Whit's money, or taking the blame for all three murders, he agrees to go with her, but phones the state police. Driving up to a police roadblock, Kathie realizes that Jeff shoots him dead, she fires at the police, who fatally shoot her. When the news reaches Bridgeport, Jim offers to take Ann away. Ann asks The Kid. Wanting to free Ann, The Kid nods his head. Ann returns to Jim and she drives off with him, as The Kid smiles and salutes Jeff's name on the station's sign. Robert Mitchum as Jeff Bailey known as Jeff Markham Jane Greer as Kathie Moffat Kirk Douglas as Whit Sterling Rhonda Fleming as Meta Carson Richard Webb as Jim Steve Brodie as Jack Fisher Virginia Huston as Ann Miller Paul Valentine as Joe Stefanos Di
ShoppingTown Mall is a regional shopping mall in Dewitt, New York. It opened as an open-air shopping center in 1954, was converted to an enclosed mall in 1975; as of January 2020, it has 5 stores and services and is only anchored by a fourteen-screen Regal Cinemas movie theater. In under a year it went from 52 to 7 stores. ShoppingTown opened in 1954 as one of Syracuse's first suburban open-air shopping centers. Early tenants included Dey Brothers department store, The Addis Company, Woolworth, W. T. Grant, a Kallet movie theater. A Grand Union supermarket was added on the eastern end. Television station WNYS-TV opened its first studios in the basement of ShoppingTown when it began broadcasting in 1962; the studio caught fire in April 1967. The call letters were changed to WIXT-TV in 1978, the station moved from ShoppingTown to new studios on nearby Bridge Street in East Syracuse in 1985. After expanding several times in the 1960s, ShoppingTown was converted to an enclosed shopping mall in 1975, was remodeled in 1991.
The mall was owned by Macerich, which acquired it from Wilmorite Properties in 2005, but was sold in 2011 to Jones Lang LaSalle. Macerich continued to manage the mall until 2012. In 2014, MoonBeam Capital Investments bought the mall for 13.6 million. In 2012 a community theater, Central New York Playhouse, opened; this was part of a trend in which local businesses and community groups filled some of the space created by the loss of national retail tenants. Between 2005 and 2016 the mall lost three of its four anchor tenants, The Bon-Ton, Macy's, Dick's Sporting Goods, J. C. Penney. In February 2015, Moonbeam Capital Investments proposed plans to demolish the Sears wing and turn it into a strip mall; this has been halted indefinitely because of a tax dispute. As of 2017, future plans include repurposing facilities to include office and education tenants; as of April 2018, the mall only had about 50 stores and services left in the mall, 2/5 of the tenants shown are considered services or studio tenants, rather than stores.
The food court is now abandoned after its last tenant, Ming Wok, closed in January 2018. As of September 2, 2018, the mall's last anchor, has closed. On June 24, 2019, the mall's owner, Moonbeam Capital Investments, went into default after failure to paying back $9.7 million in taxes. Onondaga County, New York is now attempting to seize the mall; the owners have filed for Chapter 11 bankruptcy. It is uncertain. Official website Moonbeam Capital Investments LLC website Dowty, Douglas.. "Why county taxpayers are forced to refund $2.4 million to ShoppingTown Mall's owner," The Post Standard Tampone, Kevin.. "ShoppingTown Mall's new owner:'This is a long-term play'," The Post Standard
Willie Bester is a South African painter and collage artist. He is best known for his role in the protesting of the apartheid system through his artwork, he lives in Kuilsrivier, South Africa with his wife and their three children. Bester was born in Montagu, Western Cape, a town located in the Western Cape province of South Africa about 180 km east from Cape Town, his father was Xhosa and his mother was classified Coloured under the apartheid system. He was born before they were married and was therefore categorized as Coloured, taking his mother’s name. During childhood, Bester showed a natural talent for art, he was known to create and sell toy cars from wire, creating headlights from candles and discarded tin cans. He won an interschool art competition after encouragement from a school teacher who recognized his interest in painting. However, with his parents categorized as a mixed race relationship, Bester faced many challenged growing up, they were denied housing in “Coloured” neighborhoods of Montagu, while the only lodging for Black workers were single-sex hostels.
In order to live together as a family within the township, they lived in other people’s backyards. At this time, there was little organized resistance to apartheid, his mother’s family rejected Bester and his siblings because their father was a black Xhosa-speaking man, rather than an Afrikaans-speaking “Coloured” person. Bester bore witness to the constant harassment of his Black father by police and the farming communities in Montagu. In his late teens, like many township and rural youth in similar situations joined the South African Defence Force, he spent a year there, another in a military camp for unemployed black youth. He became a dental assistant. During the 1980’s, resistance movements like the Soweto Uprising inspired Bester, who returned to his childhood interest in art by joining the Community Arts Program in Cape Town at the age of thirty. Bester works in a variety of mediums, such as paint and sculpture, he is most notable for his mixed-media pieces using paint. His use of found objects in collage to represent the real world have been compared to Pablo Picasso and Synthetic Cubism, rubbish collages by Kurt Schwitters and early Pop Art works by Robert Rauchenberg.
Much of his subject matter is reflective to the history of apartheid, both in townships and his own personal accounts. He is known for using the human form as a narrative tool, compared to artists like Jackson Hlungwani and Andries Botha. Bester has been noted as one of the strongest opponents to apartheid, creating much resistance art to garner protest from other South Africans. Upon joining the Community Arts Project in 1988 as a part-time art student, Bester was surrounded by South Africans who attacked the apartheid system, unusual at the time; this inspired his first two mixed-media pieces, “Forced Removal” and “Don’t Vote”. During his four years in CAP, Bester began to work bigger and experiment with spatial structure and photography; the subject matter he depicted in his works were of the communities oppressed under apartheid. Bester used the human body as a vehicle of narration in works depicting individuals. In his work Tribute to Chris Hani, Bester responds to the assassination of Chris Hani, then-president of the South African Communist Party in 1993, who played a large role in the anti-apartheid movement.
In these works, he not only brings attention to the accomplishments of the individual, but the unjust actions of the National Party. He has used his works to express his own personal reactions to these events—in the case of Tribute to Chris Hani, he expresses his anger at the violence through the burnt state of wood in the center of the piece. Bester is conscious of the materials and their placement in his pieces, his collection of found objects are discarded refuse from townships, which are assembled to represent life and settings within townships. In his work Migrant Laborer’ he uses the life Semezaki, a retired migrant worker in the township of Crossroads, to show the life experiences of all migrant laborers under apartheid; the bed coils in front of a figure double as a jail cell, highlighting how Semezaki, like many others, were apart from their families, supporting them with jobs they find in townships. Within this same piece, he includes the image of a bible physically connected with a replication of Semezaki’s passbook, to highlight the irony of the National Party’s claims of being run on Christian principles.
He revisits this in his work Die Bybel. Migrant workers like Semezaki were required to carry their passbook in order to work in a township until the Pass laws were repealed in 1986. After they were repealed, Semezaki continued to carry his passbook until he was killed by gangsters, one month after the completion of ‘’Migrant Laborer’’ in 1993. Bester is noted for using oil paint for these portrait-like pieces, which has a long history in European portraiture, to restore human dignity to the Black and Coloured people he portrays; as his work evolved, Bester moved away from addressing the impact of apartheid laws, to celebrating the indomitable spirit of the oppressed people he paints. In 1992, he received the French Prix de l’Aigle for most original work. Bester has continued to produce works, continuing to advocate for human rights and humanity in the wake of apartheid, he has received an Honorary medal for the promotion of Fine Arts from Suid-Afrikaanse Akademie vir Wetenskap en Kuns, as well as Order of Ikhamanga in Silver awarded by the South African government.