Batgirl Yvonne Craig. Batgirl Yvonne Craig dead at 78: Also featured in 'Star Trek' episode, Elvis Presley movies Yvonne Craig, best known as Batgirl in the 1960s television series Batman, died of complications from breast cancer on Monday, Aug. 17, '15, at her home in Pacific Palisades, in the Los Angeles Westside. Craig (born May 16, 1937, in Taylorville, Illinois), who had been undergoing chemotherapy for two years, was 78. Beginning (and ending) in the final season of Batman (1967-1968), Yvonne Craig played both Commissioner Gordon's librarian daughter Barbara Gordon and her alter ego, the spunky Batgirl – armed with a laser-beaming electric make-up kit “which will destroy anything.” Unlike semi-villainess Catwoman (Julie Newmar), Batgirl was wholly on the side of Righteousness, infusing new blood into the series' increasingly anemic Dynamic Duo: Batman aka Bruce Wayne (Adam West) and Boy Wonder Robin aka Bruce Wayne's beloved pal Dick Grayson (Burt Ward). “They chose...
- 8/19/2015
- by Andre Soares
- Alt Film Guide
Rip our beloved Bat Beauty! A punch in the gut to Batfans. A first crush for men of a certain age, the beautiful Yvonne Craig has died at the age of 78.
Yvonne was born on the 16th of May 1937. In her early life before her television career she trained to be a ballet teacher. She gradually moved into acting during the 1950s. Before appearing on television she starred in a few films including; The Young Land, The Gene Krupa Story, Ski Party, and High Time. She even played alongside Elvis Presley in Kissin’ Cousins and briefly dated the King. During the mid-1960s Yvonne moved from film into television, where she appeared in many shows including Man With a Camera, Wagon Train, and The Man from U.N.C.L.E. More famously she played “Marta” (a green skinned Orion) in the third series Star Trek episode entitled “Whom Gods Destroy” in 1968.
1967 she was...
Yvonne was born on the 16th of May 1937. In her early life before her television career she trained to be a ballet teacher. She gradually moved into acting during the 1950s. Before appearing on television she starred in a few films including; The Young Land, The Gene Krupa Story, Ski Party, and High Time. She even played alongside Elvis Presley in Kissin’ Cousins and briefly dated the King. During the mid-1960s Yvonne moved from film into television, where she appeared in many shows including Man With a Camera, Wagon Train, and The Man from U.N.C.L.E. More famously she played “Marta” (a green skinned Orion) in the third series Star Trek episode entitled “Whom Gods Destroy” in 1968.
1967 she was...
- 8/19/2015
- by Tom Stockman
- WeAreMovieGeeks.com
Second #2820, 47:00
Throughout this entire sequence, we never once see Dorothy from Frank’s point of view. In fact, the camera stays positioned entirely on Jeffrey’s side of the room, adopting, if not his precise point of view from within the closet, then at least his general angle of vision throughout. Even when we see Dorothy’s face close up, it is not from Frank’s point of view; we are never permitted to cross the invisible line that divides the room to see things from Frank’s side. On one level, this increases our identification with Jeffrey; for the most part, we see what he sees. But more fundamentally, the refusal of the camera to adopt Frank’s perspective makes his actions both more terrifying and more banal. It is the specific, fetishistic details of his assault that propel him deep into the imagination, where he burns like a hot ember.
Throughout this entire sequence, we never once see Dorothy from Frank’s point of view. In fact, the camera stays positioned entirely on Jeffrey’s side of the room, adopting, if not his precise point of view from within the closet, then at least his general angle of vision throughout. Even when we see Dorothy’s face close up, it is not from Frank’s point of view; we are never permitted to cross the invisible line that divides the room to see things from Frank’s side. On one level, this increases our identification with Jeffrey; for the most part, we see what he sees. But more fundamentally, the refusal of the camera to adopt Frank’s perspective makes his actions both more terrifying and more banal. It is the specific, fetishistic details of his assault that propel him deep into the imagination, where he burns like a hot ember.
- 12/30/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
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