Doug Horne

[Craig Lamson]

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated.

The very high quality of work presented by the Fetzer horde in regards to a "fabricated Z-Film". It should be noted that the above referenced horde cannot refute this, and they have tired. So much for their intellectual honesty.

www.craiglamson.com/costella.htm

www.craiglamson.com/costella2.htm

[Dean Hagerman]

This is a nice example of someone who has been out-of-touch with research on the authenticity of the Zapruder film, which has been proceeding at a rapid clip since the symposium on the film I organized and moderated at the Lancer Conference in 1996. Since the film has been used as the backbone of the cover up from its inception--including the creation of the "blob" of brains bulging forward, the missing right-front cranial mass from the x-rays, the caption for frame 313 in LIFE magazine describing how the direction of the shot was determined by the study of the film, and Abraham Zapruder's appearance on television that evening, using his had to show a blow-out to the right-front that did not occur--it would have been extremely unfortunate had Doug Horne followed the advice of J. Raymond Carroll and suppressed his research on the film. Indeed, one of the great virtues of Vol. IV is its exposure of film fakery.

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated. After all, anyone who takes for granted that the film is authentic--as have generations of students of the crime in generations past--will be unable to reconstruct what actually happened in Dealey Plaza during the assassination, since some events--such as William Greer bringing the limousine to a halt to make certain JFK would be killed, Motorcycle Patrolman Cheney's motoring forward to advise Chief Curry that he had been shot, and Mary Moorman and Jean Hill's stepping into the street to take Mary's famous Polariod--have been removed, while other events--such as the bulging "blob", the blood spray, and the passengers being thrown forward WHILE THE LIMO WAS ACCELERATING--have been added in. Horne's studies reinforce these discoveries.

I especially like the manner in which Doug Horne encourages other students of JFK to abandon their long-held but provably-false belief in Zapruder film authenticity:

The biggest problem we face right now in the JFK research community are the legions of "old guard" researchers who refuse to face this fact [that the Z-film has been fabricated] and who stubbornly cling to some piece of "bedrock evidence", which in their mind will lead them out of the wilderness if only they study it long enough and can divine its true meaning. For Thompson, Wrone, Weisberg, Groden, and may others, the Zapruder film has been this piece of bedrock evidence for over four decades. I say to the old guard who have continued to insist that the Zapruder film is an authentic and unaltered film in spite of the mounting evidence of its alteration, "Come on over, and see the light." You will feel better for having done so--in fact, it will liberate you. Once you accept the fact that the Zapruder film is a clever (but imperfect) forgery, you are free suddenly to believe the Dealey Plaza car stop witnesses (which include several Dallas motorcycle policemen and Bill Newman); Marily Sitzman; the Kodak laboratory personnel (who all say the original film was slit the evening of the assassination); Marilyn Willis; Erwin Schwartz; Cartha DeLoach; Dan Rather; and the Parkland doctors and nurses. For if you believe the Zapruder film is authentic, you must, of necessity, believe that all of these people are either liars, or incompetent and unreliable witnesses.

Following the lead of Noel Twyman, BLOODY TREASON (1997), who consulted Roderick Ryan, an expert on special effects from the cinema capitol of the world, who told him that the "blog" and the blood spray had been painted in, Doug Horne consulted additional experts on special effects and reported that, "When the 6K scans of frames 313 through 323 were viewed, one after the other on two high resolution video screens in the editing bay, Ned Price (who just happens to also be the Head of Restoration at a major Hollywood film studio) said: "Oh, that's horrible, that's just terrible! That's such a bad fake." His colleague, Paul Rutan, opined: "We are not looking at originals; we are looking at artwork." (By this, Rutan meant we were not looking at traveling mattes; we were looking at painted visual effects superimposed on top of the original film frames--by inference, he meant aerial imaging.) The film editor concurred with his two colleagues. To say that this was an electrifying moment would be a gross understatement.

"The considered opinions of our two film restoration professionals, who together have spent over five decades restoring and working with films of the late 1940s, 1950s, and 1960s (when visual effects were done optically--not digitally), in that one moment superseded the statements of all those in the JFK research community who have insisted for two decades now that the Zapruder film could not have been altered, because the technology did not exist to do so. Our two restoration experts know special effects in modern motion picture films far better than Josiah Thompson, or David Wrone, or Gary Mack, or Robert Groden, or me, for that matter; and their subjective opinion [better: professional judgment] trumps Rollie Zavada's as well--a man who has absolutely no experience whatsoever in the post production of visual effects in motion picture films. And while Rollie Zavada, a lifetime Kodak employee receiving retirement pay from his former employer, would certain have an apparent conflict of interest in blowing the whistle on Zapruder film forgery if his former employer was involved in its alteration, our three Hollywood film professionals had no vested interest, one way or the other, in the outcome of their examination of the 6Kscans on August 25th of 2009."

In complete opposition to J. Raymond Carroll, I assert that, if this had been the only contribution of Doug Horne's research toward a better understanding of the assassination of JFK and its cover up, it would have been worth the price of the volume by itself! I am completely and utterly in awe and admiration for his painstaking efforts and meticulous research on the most controversial aspects of the case, where I believe that it has become impossible to deny that the film is a fabrication and that the cover up cannot be understood --even remotely!--without rejecting the blindfold extended by Josiah Thompson, David Wrone, Gary Mack, Rollie Zavada and their chums and allies, who have held back major advances in research on the basis of their misconceived objections to the alteration of the film. I therefore agree with Bill Kelly in his belief that "the corner has been turned" in relation to the question of Zapruder film alteration. Jack White, David Mantik, David Healy, John Costella, David Lifton and I have known it for some time, but there is no substitute for a presentation that anyone with the capacity for objectivity can comprehend! For that--and for his diligence, his dedication, his intelligence, his self-sacrifice, and his professionalism--I congratulate him!

Perfect post Dr Fetzer

My favorite book is "Bloody Treason" by Noel Twyman

I bought it brand new back in 1997 and since the day I read Bloody Treason the whole way through I have believed 100% in alteration

I also bought "Assassination Science", "Murder In Dealey Plaza" and "The Great Zapruder Film Hoax" the day they were released or the first week they were released

Those 3 amazing books are not only all worn out from my reading them over and over and over they are still being read by me even today to check information and look up facts that are disputed by Lamson, Colby and others

I hope that Dougs 5 volumes (and the Z-film alteration in Vol4) will open the eyes of researchers who I hold in a very high regard (Groden being one of them) I know Dougs book will bring on a new wave of attacks, i just wish I didnt have to wait until X-mas to get my hands on all 5 volumes (im working on the wife as I type to let me have Volume 4 as an early present )

I wanted to use this post to thank Dr Fetzer for putting together 3 of the most important books on the assassination and 3 books that I hold in a very high regard in my own research and studies as they back up my thoughts on the assassination and photographic evidence

Thank you Dr Fetzer, I cant wait for the day that us as alterationists are proven to have been right all along

Dean

[William Kelly]

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated.

The very high quality of work presented by the Fetzer horde in regards to a "fabricated Z-Film". It should be noted that the above referenced horde cannot refute this, and they have tired. So much for their intellectual honesty.

www.craiglamson.com/costella.htm

www.craiglamson.com/costella2.htm

As explained in Chapter 14 of Volume IV of Doug Horne's IARRB, he does not base any of his conclusions regarding possible tampering with the Z-film on the content of the film, paralax or anything that you see in the film or argue about.

Horne contends that because there were two separate photo enlarging sessions at the NPIC, conducted by two different technical teams at different times, AND USING TWO DIFFERENT FILMS - types and style of hard copy celluloid - and one was said to have been developed at the CIA's super secret Kodak "Hawkeye Works" plant at Rochester, New York, then there's some shennagans going on and the provenance and chain of custody of the film is lost.

He does introduce new anomolies - ie. the cut corner of the Stemmons Freeway sign, and utilizes the expertise of some Hollywood special effects artists, and speculates on what could have been altered in the film had it been sent to such a CIA photo lab like the Hawkeye Works - (where they developed the CORONA satellite film at the same time), but Horne does not use the anomalies that Fetzer promotes in his book to determine that the Z-film was altered and there were two different "original" Z-films utilized at the NPIC.

So those who want to continue to discredit the anomalies noticed in the film, or defend them, can continue to do so, without bringing up what Horne details in Chapter 14 of his book.

Those who noticed the anomalies in the film may be vindicated by proof that the film was at the Hawkeye Works, but they certainly didn't tamper with evidence of a murder and obstruct justice just in order to move Mooreman off the street, - they did it to try to prevent the introduction of conclusive evidence of a gunshot from that originates from the front of the motorcade.

Bill Kelly

[John Bevilaqua]

I HAVE NOT TAKEN POT SHOTS at Doug Horne. Everything I have heard about him

is quite positive.

What I did say after reading a purported excerpt from his book posted by someone

here is that he was quoted as saying that his research cleared LBJ of involvement in

the assassination. I rightly stated that any such claims must be viewed with extreme

skepticism in view of the mountain of evidence to the contrary. This is not a pot shot

at Horne, but at any evidence which exculpates Lyndon.

Jack

Well then I must have misread or misinterpreted the tenor and tone of your original responses and

therefore stand corrected.

In one of his recent blogs Doug has gone out of his way to rethink or restate some of his original conclusions

about LBJ and I have just now taken the time to discover that LBJ was also in deep debt to the drug lords and

the descendants of the Clipper Ship slave owners and opium traders as well as to Joseph Alsop who put the bug

in JFK's ear to take on LBJ as his running mate. Joseph Alsop's family was also heavily represented at the Taft-Draper

wedding as far back as 1917 along with just about every other Yale Skull and Bonesmen's family going back to

Amos Alonzo Taft and the Russell family in the early to mid 1800's. One of the bridesmaids was a Cheyney and

I am trying to get confirmation or denial from our resident genealogy experts about this suspicion. Would it not

be ironic after all is said and done if we were to discover that the core of the assassination cabals directed against

BOTH FDR and JFK were all represented at this now infamous Taft-Draper wedding party towards the end of the

Civil War?

I am firmly convinced of this more than ever before, and by inference this now paints Draper as the lynchpin and

the kingpin of BOTH the FDR and JFK plots. Draper was not an innocent lamb and a non-combatant in the JFK

fray as some have tried to state previous to this. I think I know now why they staked their reputations and careers

as "JFK bloggers or researchers" on this and lost everything with one bad conclusion. Everything. They are now

"persona non grata" as far as I am concerned.

[William Kelly]

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated.

The very high quality of work presented by the Fetzer horde in regards to a "fabricated Z-Film". It should be noted that the above referenced horde cannot refute this, and they have tired. So much for their intellectual honesty.

www.craiglamson.com/costella.htm

www.craiglamson.com/costella2.htm

As explained in Chapter 14 of Volume IV of Doug Horne's IARRB, he does not base any of his conclusions regarding possible tampering with the Z-film on the content of the film, paralax or anything that you see in the film or argue about.

Horne contends that because there were two separate photo enlarging sessions at the NPIC, conducted by two different technical teams at different times, AND USING TWO DIFFERENT FILMS - types and style of hard copy celluloid - and one was said to have been developed at the CIA's super secret Kodak "Hawkeye Works" plant at Rochester, New York, then there's some shennagans going on and the provenance and chain of custody of the film is lost.

He does introduce new anomolies - ie. the cut corner of the Stemmons Freeway sign, and utilizes the expertise of some Hollywood special effects artists, and speculates on what could have been altered in the film had it been sent to such a CIA photo lab like the Hawkeye Works - (where they developed the CORONA satellite film at the same time), but Horne does not use the anomalies that Fetzer promotes in his book to determine that the Z-film was altered and there were two different "original" Z-films utilized at the NPIC.

So those who want to continue to discredit the anomalies noticed in the film, or defend them, can continue to do so, without bringing up what Horne details in Chapter 14 of his book.

Those who noticed the anomalies in the film may be vindicated by proof that the film was at the Hawkeye Works, but they certainly didn't tamper with evidence of a murder and obstruct justice just in order to move Mooreman off the street, - they did it to try to prevent the introduction of conclusive evidence of a gunshot from that originates from the front of the motorcade.

Bill Kelly

[John Bevilaqua]

This is a nice example of someone who has been out-of-touch with research on the authenticity of the Zapruder film, which has been proceeding at a rapid clip since the symposium on the film I organized and moderated at the Lancer Conference in 1996. Since the film has been used as the backbone of the cover up from its inception--including the creation of the "blob" of brains bulging forward, the missing right-front cranial mass from the x-rays, the caption for frame 313 in LIFE magazine describing how the direction of the shot was determined by the study of the film, and Abraham Zapruder's appearance on television that evening, using his had to show a blow-out to the right-front that did not occur--it would have been extremely unfortunate had Doug Horne followed the advice of J. Raymond Carroll and suppressed his research on the film. Indeed, one of the great virtues of Vol. IV is its exposure of film fakery.

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated. After all, anyone who takes for granted that the film is authentic--as have generations of students of the crime in generations past--will be unable to reconstruct what actually happened in Dealey Plaza during the assassination, since some events--such as William Greer bringing the limousine to a halt to make certain JFK would be killed, Motorcycle Patrolman Cheney's motoring forward to advise Chief Curry that he had been shot, and Mary Moorman and Jean Hill's stepping into the street to take Mary's famous Polariod--have been removed, while other events--such as the bulging "blob", the blood spray, and the passengers being thrown forward WHILE THE LIMO WAS ACCELERATING--have been added in. Horne's studies reinforce these discoveries.

I especially like the manner in which Doug Horne encourages other students of JFK to abandon their long-held but provably-false belief in Zapruder film authenticity:

The biggest problem we face right now in the JFK research community are the legions of "old guard" researchers who refuse to face this fact [that the Z-film has been fabricated] and who stubbornly cling to some piece of "bedrock evidence", which in their mind will lead them out of the wilderness if only they study it long enough and can divine its true meaning. For Thompson, Wrone, Weisberg, Groden, and may others, the Zapruder film has been this piece of bedrock evidence for over four decades. I say to the old guard who have continued to insist that the Zapruder film is an authentic and unaltered film in spite of the mounting evidence of its alteration, "Come on over, and see the light." You will feel better for having done so--in fact, it will liberate you. Once you accept the fact that the Zapruder film is a clever (but imperfect) forgery, you are free suddenly to believe the Dealey Plaza car stop witnesses (which include several Dallas motorcycle policemen and Bill Newman); Marily Sitzman; the Kodak laboratory personnel (who all say the original film was slit the evening of the assassination); Marilyn Willis; Erwin Schwartz; Cartha DeLoach; Dan Rather; and the Parkland doctors and nurses. For if you believe the Zapruder film is authentic, you must, of necessity, believe that all of these people are either liars, or incompetent and unreliable witnesses.

Following the lead of Noel Twyman, BLOODY TREASON (1997), who consulted Roderick Ryan, an expert on special effects from the cinema capitol of the world, who told him that the "blog" and the blood spray had been painted in, Doug Horne consulted additional experts on special effects and reported that, "When the 6K scans of frames 313 through 323 were viewed, one after the other on two high resolution video screens in the editing bay, Ned Price (who just happens to also be the Head of Restoration at a major Hollywood film studio) said: "Oh, that's horrible, that's just terrible! That's such a bad fake." His colleague, Paul Rutan, opined: "We are not looking at originals; we are looking at artwork." (By this, Rutan meant we were not looking at traveling mattes; we were looking at painted visual effects superimposed on top of the original film frames--by inference, he meant aerial imaging.) The film editor concurred with his two colleagues. To say that this was an electrifying moment would be a gross understatement.

"The considered opinions of our two film restoration professionals, who together have spent over five decades restoring and working with films of the late 1940s, 1950s, and 1960s (when visual effects were done optically--not digitally), in that one moment superseded the statements of all those in the JFK research community who have insisted for two decades now that the Zapruder film could not have been altered, because the technology did not exist to do so. Our two restoration experts know special effects in modern motion picture films far better than Josiah Thompson, or David Wrone, or Gary Mack, or Robert Groden, or me, for that matter; and their subjective opinion [better: professional judgment] trumps Rollie Zavada's as well--a man who has absolutely no experience whatsoever in the post production of visual effects in motion picture films. And while Rollie Zavada, a lifetime Kodak employee receiving retirement pay from his former employer, would certain have an apparent conflict of interest in blowing the whistle on Zapruder film forgery if his former employer was involved in its alteration, our three Hollywood film professionals had no vested interest, one way or the other, in the outcome of their examination of the 6Kscans on August 25th of 2009."

In complete opposition to J. Raymond Carroll, I assert that, if this had been the only contribution of Doug Horne's research toward a better understanding of the assassination of JFK and its cover up, it would have been worth the price of the volume by itself! I am completely and utterly in awe and admiration for his painstaking efforts and meticulous research on the most controversial aspects of the case, where I believe that it has become impossible to deny that the film is a fabrication and that the cover up cannot be understood --even remotely!--without rejecting the blindfold extended by Josiah Thompson, David Wrone, Gary Mack, Rollie Zavada and their chums and allies, who have held back major advances in research on the basis of their misconceived objections to the alteration of the film. I therefore agree with Bill Kelly in his belief that "the corner has been turned" in relation to the question of Zapruder film alteration. Jack White, David Mantik, David Healy, John Costella, David Lifton and I have known it for some time, but there is no substitute for a presentation that anyone with the capacity for objectivity can comprehend! For that--and for his diligence, his dedication, his intelligence, his self-sacrifice, and his professionalism--I congratulate him!

Perfect post Dr Fetzer

My favorite book is "Bloody Treason" by Noel Twyman

I bought it brand new back in 1997 and since the day I read Bloody Treason the whole way through I have believed 100% in alteration

I also bought "Assassination Science", "Murder In Dealey Plaza" and "The Great Zapruder Film Hoax" the day they were released or the first week they were released

Those 3 amazing books are not only all worn out from my reading them over and over and over they are still being read by me even today to check information and look up facts that are disputed by Lamson, Colby and others

I hope that Dougs 5 volumes (and the Z-film alteration in Vol4) will open the eyes of researchers who I hold in a very high regard (Groden being one of them) I know Dougs book will bring on a new wave of attacks, i just wish I didnt have to wait until X-mas to get my hands on all 5 volumes (im working on the wife as I type to let me have Volume 4 as an early present )

I wanted to use this post to thank Dr Fetzer for putting together 3 of the most important books on the assassination and 3 books that I hold in a very high regard in my own research and studies as they back up my thoughts on the assassination and photographic evidence

Thank you Dr Fetzer, I cant wait for the day that us as alterationists are proven to have been right all along

Dean

And who was the person who allowed this alteration to take place? Draper crony Charles Douglas Jackson and Henry Luce, both with Time Magazine, who was a Knight of Malta and his wife Clare Booth Luce who was a Dame of the Knights of Malta. Now we know why Draper probably provided the money to buy the Z-film. So he could have his friends doctor it until it was too late and too corrupted to use it as evidence.

[John Bevilaqua]

Dean Hagerman QUOTE (Peter Fokes @ Dec 6 2009, 02:58 AM... Dec 6 2009, 06:56 AM

Anthony Thorne It's worth noting that right now, all five vol... Yesterday, 08:11 AM

Bernice Moore QUOTE (Anthony Thorne @ Dec 8 2009, 03:11... Yesterday, 05:32 PM

John Simkin QUOTE (Bernice Moore @ Dec 8 2009, 03:32 ... Yesterday, 07:11 PM

Dean Hagerman QUOTE (James H. Fetzer @ Dec 8 2009, 11:3... Today, 03:44 AM

John Bevilaqua QUOTE (Dean Hagerman @ Dec 9 2009, 03:44 ... Today, 04:03 AM

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2 Members: John Bevilaqua, William Kelly

Looks like our resident Irish Mafia member and professional disinformationist is reading about his recent fate...

[William Kelly]

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated.

The very high quality of work presented by the Fetzer horde in regards to a "fabricated Z-Film". It should be noted that the above referenced horde cannot refute this, and they have tired. So much for their intellectual honesty.

www.craiglamson.com/costella.htm

www.craiglamson.com/costella2.htm

As explained in Chapter 14 of Volume IV of Doug Horne's IARRB, he does not base any of his conclusions regarding possible tampering with the Z-film on the content of the film, paralax or anything that you see in the film or argue about.

Horne contends that because there were two separate photo enlarging sessions at the NPIC, conducted by two different technical teams at different times, AND USING TWO DIFFERENT FILMS - types and style of hard copy celluloid - and one was said to have been developed at the CIA's super secret Kodak "Hawkeye Works" plant at Rochester, New York, then there's some shennagans going on and the provenance and chain of custody of the film is lost.

He does introduce new anomolies - ie. the cut corner of the Stemmons Freeway sign, and utilizes the expertise of some Hollywood special effects artists, and speculates on what could have been altered in the film had it been sent to such a CIA photo lab like the Hawkeye Works - (where they developed the CORONA satellite film at the same time), but Horne does not use the anomalies that Fetzer promotes in his book to determine that the Z-film was altered and there were two different "original" Z-films utilized at the NPIC.

So those who want to continue to discredit the anomalies noticed in the film, or defend them, can continue to do so, without bringing up what Horne details in Chapter 14 of his book.

Those who noticed the anomalies in the film may be vindicated by proof that the film was at the Hawkeye Works, but they certainly didn't tamper with evidence of a murder and obstruct justice just in order to move Mooreman off the street, - they did it to try to prevent the introduction of conclusive evidence of a gunshot from that originates from the front of the motorcade.

Bill Kelly

[Craig Lamson]

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated.

The very high quality of work presented by the Fetzer horde in regards to a "fabricated Z-Film". It should be noted that the above referenced horde cannot refute this, and they have tired. So much for their intellectual honesty.

www.craiglamson.com/costella.htm

www.craiglamson.com/costella2.htm

As explained in Chapter 14 of Volume IV of Doug Horne's IARRB, he does not base any of his conclusions regarding possible tampering with the Z-film on the content of the film, paralax or anything that you see in the film or argue about.

Horne contends that because there were two separate photo enlarging sessions at the NPIC, conducted by two different technical teams at different times, AND USING TWO DIFFERENT FILMS - types and style of hard copy celluloid - and one was said to have been developed at the CIA's super secret Kodak "Hawkeye Works" plant at Rochester, New York, then there's some shennagans going on and the provenance and chain of custody of the film is lost.

He does introduce new anomolies - ie. the cut corner of the Stemmons Freeway sign, and utilizes the expertise of some Hollywood special effects artists, and speculates on what could have been altered in the film had it been sent to such a CIA photo lab like the Hawkeye Works - (where they developed the CORONA satellite film at the same time), but Horne does not use the anomalies that Fetzer promotes in his book to determine that the Z-film was altered and there were two different "original" Z-films utilized at the NPIC.

So those who want to continue to discredit the anomalies noticed in the film, or defend them, can continue to do so, without bringing up what Horne details in Chapter 14 of his book.

Those who noticed the anomalies in the film may be vindicated by proof that the film was at the Hawkeye Works, but they certainly didn't tamper with evidence of a murder and obstruct justice just in order to move Mooreman off the street, - they did it to try to prevent the introduction of conclusive evidence of a gunshot from that originates from the front of the motorcade.

Bill Kelly

Lets review. We have some guys who CLAIM we have two different films. No films to back that up..just claims.

Get back to us when you have some actual proof.

As for Hollywood, again we have some guys who SAY they see alteration. NO real proof mind you, just speculation and a very blatant appeal to authority.

Again get back to us when you have some real proof.

[Craig Lamson]

This is a nice example of someone who has been out-of-touch with research on the authenticity of the Zapruder film, which has been proceeding at a rapid clip since the symposium on the film I organized and moderated at the Lancer Conference in 1996. Since the film has been used as the backbone of the cover up from its inception--including the creation of the "blob" of brains bulging forward, the missing right-front cranial mass from the x-rays, the caption for frame 313 in LIFE magazine describing how the direction of the shot was determined by the study of the film, and Abraham Zapruder's appearance on television that evening, using his had to show a blow-out to the right-front that did not occur--it would have been extremely unfortunate had Doug Horne followed the advice of J. Raymond Carroll and suppressed his research on the film. Indeed, one of the great virtues of Vol. IV is its exposure of film fakery.

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated. After all, anyone who takes for granted that the film is authentic--as have generations of students of the crime in generations past--will be unable to reconstruct what actually happened in Dealey Plaza during the assassination, since some events--such as William Greer bringing the limousine to a halt to make certain JFK would be killed, Motorcycle Patrolman Cheney's motoring forward to advise Chief Curry that he had been shot, and Mary Moorman and Jean Hill's stepping into the street to take Mary's famous Polariod--have been removed, while other events--such as the bulging "blob", the blood spray, and the passengers being thrown forward WHILE THE LIMO WAS ACCELERATING--have been added in. Horne's studies reinforce these discoveries.

I especially like the manner in which Doug Horne encourages other students of JFK to abandon their long-held but provably-false belief in Zapruder film authenticity:

The biggest problem we face right now in the JFK research community are the legions of "old guard" researchers who refuse to face this fact [that the Z-film has been fabricated] and who stubbornly cling to some piece of "bedrock evidence", which in their mind will lead them out of the wilderness if only they study it long enough and can divine its true meaning. For Thompson, Wrone, Weisberg, Groden, and may others, the Zapruder film has been this piece of bedrock evidence for over four decades. I say to the old guard who have continued to insist that the Zapruder film is an authentic and unaltered film in spite of the mounting evidence of its alteration, "Come on over, and see the light." You will feel better for having done so--in fact, it will liberate you. Once you accept the fact that the Zapruder film is a clever (but imperfect) forgery, you are free suddenly to believe the Dealey Plaza car stop witnesses (which include several Dallas motorcycle policemen and Bill Newman); Marily Sitzman; the Kodak laboratory personnel (who all say the original film was slit the evening of the assassination); Marilyn Willis; Erwin Schwartz; Cartha DeLoach; Dan Rather; and the Parkland doctors and nurses. For if you believe the Zapruder film is authentic, you must, of necessity, believe that all of these people are either liars, or incompetent and unreliable witnesses.

Following the lead of Noel Twyman, BLOODY TREASON (1997), who consulted Roderick Ryan, an expert on special effects from the cinema capitol of the world, who told him that the "blog" and the blood spray had been painted in, Doug Horne consulted additional experts on special effects and reported that, "When the 6K scans of frames 313 through 323 were viewed, one after the other on two high resolution video screens in the editing bay, Ned Price (who just happens to also be the Head of Restoration at a major Hollywood film studio) said: "Oh, that's horrible, that's just terrible! That's such a bad fake." His colleague, Paul Rutan, opined: "We are not looking at originals; we are looking at artwork." (By this, Rutan meant we were not looking at traveling mattes; we were looking at painted visual effects superimposed on top of the original film frames--by inference, he meant aerial imaging.) The film editor concurred with his two colleagues. To say that this was an electrifying moment would be a gross understatement.

"The considered opinions of our two film restoration professionals, who together have spent over five decades restoring and working with films of the late 1940s, 1950s, and 1960s (when visual effects were done optically--not digitally), in that one moment superseded the statements of all those in the JFK research community who have insisted for two decades now that the Zapruder film could not have been altered, because the technology did not exist to do so. Our two restoration experts know special effects in modern motion picture films far better than Josiah Thompson, or David Wrone, or Gary Mack, or Robert Groden, or me, for that matter; and their subjective opinion [better: professional judgment] trumps Rollie Zavada's as well--a man who has absolutely no experience whatsoever in the post production of visual effects in motion picture films. And while Rollie Zavada, a lifetime Kodak employee receiving retirement pay from his former employer, would certain have an apparent conflict of interest in blowing the whistle on Zapruder film forgery if his former employer was involved in its alteration, our three Hollywood film professionals had no vested interest, one way or the other, in the outcome of their examination of the 6Kscans on August 25th of 2009."

In complete opposition to J. Raymond Carroll, I assert that, if this had been the only contribution of Doug Horne's research toward a better understanding of the assassination of JFK and its cover up, it would have been worth the price of the volume by itself! I am completely and utterly in awe and admiration for his painstaking efforts and meticulous research on the most controversial aspects of the case, where I believe that it has become impossible to deny that the film is a fabrication and that the cover up cannot be understood --even remotely!--without rejecting the blindfold extended by Josiah Thompson, David Wrone, Gary Mack, Rollie Zavada and their chums and allies, who have held back major advances in research on the basis of their misconceived objections to the alteration of the film. I therefore agree with Bill Kelly in his belief that "the corner has been turned" in relation to the question of Zapruder film alteration. Jack White, David Mantik, David Healy, John Costella, David Lifton and I have known it for some time, but there is no substitute for a presentation that anyone with the capacity for objectivity can comprehend! For that--and for his diligence, his dedication, his intelligence, his self-sacrifice, and his professionalism--I congratulate him!

Perfect post Dr Fetzer

My favorite book is "Bloody Treason" by Noel Twyman

I bought it brand new back in 1997 and since the day I read Bloody Treason the whole way through I have believed 100% in alteration

I also bought "Assassination Science", "Murder In Dealey Plaza" and "The Great Zapruder Film Hoax" the day they were released or the first week they were released

Those 3 amazing books are not only all worn out from my reading them over and over and over they are still being read by me even today to check information and look up facts that are disputed by Lamson, Colby and others

I hope that Dougs 5 volumes (and the Z-film alteration in Vol4) will open the eyes of researchers who I hold in a very high regard (Groden being one of them) I know Dougs book will bring on a new wave of attacks, i just wish I didnt have to wait until X-mas to get my hands on all 5 volumes (im working on the wife as I type to let me have Volume 4 as an early present )

I wanted to use this post to thank Dr Fetzer for putting together 3 of the most important books on the assassination and 3 books that I hold in a very high regard in my own research and studies as they back up my thoughts on the assassination and photographic evidence

Thank you Dr Fetzer, I cant wait for the day that us as alterationists are proven to have been right all along

Dean

Cherry...for sure.

[Dean Hagerman]

This is a nice example of someone who has been out-of-touch with research on the authenticity of the Zapruder film, which has been proceeding at a rapid clip since the symposium on the film I organized and moderated at the Lancer Conference in 1996. Since the film has been used as the backbone of the cover up from its inception--including the creation of the "blob" of brains bulging forward, the missing right-front cranial mass from the x-rays, the caption for frame 313 in LIFE magazine describing how the direction of the shot was determined by the study of the film, and Abraham Zapruder's appearance on television that evening, using his had to show a blow-out to the right-front that did not occur--it would have been extremely unfortunate had Doug Horne followed the advice of J. Raymond Carroll and suppressed his research on the film. Indeed, one of the great virtues of Vol. IV is its exposure of film fakery.

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated. After all, anyone who takes for granted that the film is authentic--as have generations of students of the crime in generations past--will be unable to reconstruct what actually happened in Dealey Plaza during the assassination, since some events--such as William Greer bringing the limousine to a halt to make certain JFK would be killed, Motorcycle Patrolman Cheney's motoring forward to advise Chief Curry that he had been shot, and Mary Moorman and Jean Hill's stepping into the street to take Mary's famous Polariod--have been removed, while other events--such as the bulging "blob", the blood spray, and the passengers being thrown forward WHILE THE LIMO WAS ACCELERATING--have been added in. Horne's studies reinforce these discoveries.

I especially like the manner in which Doug Horne encourages other students of JFK to abandon their long-held but provably-false belief in Zapruder film authenticity:

The biggest problem we face right now in the JFK research community are the legions of "old guard" researchers who refuse to face this fact [that the Z-film has been fabricated] and who stubbornly cling to some piece of "bedrock evidence", which in their mind will lead them out of the wilderness if only they study it long enough and can divine its true meaning. For Thompson, Wrone, Weisberg, Groden, and may others, the Zapruder film has been this piece of bedrock evidence for over four decades. I say to the old guard who have continued to insist that the Zapruder film is an authentic and unaltered film in spite of the mounting evidence of its alteration, "Come on over, and see the light." You will feel better for having done so--in fact, it will liberate you. Once you accept the fact that the Zapruder film is a clever (but imperfect) forgery, you are free suddenly to believe the Dealey Plaza car stop witnesses (which include several Dallas motorcycle policemen and Bill Newman); Marily Sitzman; the Kodak laboratory personnel (who all say the original film was slit the evening of the assassination); Marilyn Willis; Erwin Schwartz; Cartha DeLoach; Dan Rather; and the Parkland doctors and nurses. For if you believe the Zapruder film is authentic, you must, of necessity, believe that all of these people are either liars, or incompetent and unreliable witnesses.

Following the lead of Noel Twyman, BLOODY TREASON (1997), who consulted Roderick Ryan, an expert on special effects from the cinema capitol of the world, who told him that the "blog" and the blood spray had been painted in, Doug Horne consulted additional experts on special effects and reported that, "When the 6K scans of frames 313 through 323 were viewed, one after the other on two high resolution video screens in the editing bay, Ned Price (who just happens to also be the Head of Restoration at a major Hollywood film studio) said: "Oh, that's horrible, that's just terrible! That's such a bad fake." His colleague, Paul Rutan, opined: "We are not looking at originals; we are looking at artwork." (By this, Rutan meant we were not looking at traveling mattes; we were looking at painted visual effects superimposed on top of the original film frames--by inference, he meant aerial imaging.) The film editor concurred with his two colleagues. To say that this was an electrifying moment would be a gross understatement.

"The considered opinions of our two film restoration professionals, who together have spent over five decades restoring and working with films of the late 1940s, 1950s, and 1960s (when visual effects were done optically--not digitally), in that one moment superseded the statements of all those in the JFK research community who have insisted for two decades now that the Zapruder film could not have been altered, because the technology did not exist to do so. Our two restoration experts know special effects in modern motion picture films far better than Josiah Thompson, or David Wrone, or Gary Mack, or Robert Groden, or me, for that matter; and their subjective opinion [better: professional judgment] trumps Rollie Zavada's as well--a man who has absolutely no experience whatsoever in the post production of visual effects in motion picture films. And while Rollie Zavada, a lifetime Kodak employee receiving retirement pay from his former employer, would certain have an apparent conflict of interest in blowing the whistle on Zapruder film forgery if his former employer was involved in its alteration, our three Hollywood film professionals had no vested interest, one way or the other, in the outcome of their examination of the 6Kscans on August 25th of 2009."

In complete opposition to J. Raymond Carroll, I assert that, if this had been the only contribution of Doug Horne's research toward a better understanding of the assassination of JFK and its cover up, it would have been worth the price of the volume by itself! I am completely and utterly in awe and admiration for his painstaking efforts and meticulous research on the most controversial aspects of the case, where I believe that it has become impossible to deny that the film is a fabrication and that the cover up cannot be understood --even remotely!--without rejecting the blindfold extended by Josiah Thompson, David Wrone, Gary Mack, Rollie Zavada and their chums and allies, who have held back major advances in research on the basis of their misconceived objections to the alteration of the film. I therefore agree with Bill Kelly in his belief that "the corner has been turned" in relation to the question of Zapruder film alteration. Jack White, David Mantik, David Healy, John Costella, David Lifton and I have known it for some time, but there is no substitute for a presentation that anyone with the capacity for objectivity can comprehend! For that--and for his diligence, his dedication, his intelligence, his self-sacrifice, and his professionalism--I congratulate him!

Perfect post Dr Fetzer

My favorite book is "Bloody Treason" by Noel Twyman

I bought it brand new back in 1997 and since the day I read Bloody Treason the whole way through I have believed 100% in alteration

I also bought "Assassination Science", "Murder In Dealey Plaza" and "The Great Zapruder Film Hoax" the day they were released or the first week they were released

Those 3 amazing books are not only all worn out from my reading them over and over and over they are still being read by me even today to check information and look up facts that are disputed by Lamson, Colby and others

I hope that Dougs 5 volumes (and the Z-film alteration in Vol4) will open the eyes of researchers who I hold in a very high regard (Groden being one of them) I know Dougs book will bring on a new wave of attacks, i just wish I didnt have to wait until X-mas to get my hands on all 5 volumes (im working on the wife as I type to let me have Volume 4 as an early present )

I wanted to use this post to thank Dr Fetzer for putting together 3 of the most important books on the assassination and 3 books that I hold in a very high regard in my own research and studies as they back up my thoughts on the assassination and photographic evidence

Thank you Dr Fetzer, I cant wait for the day that us as alterationists are proven to have been right all along

Dean

Cherry...for sure.

Your a funny guy Craig, you should go on a comedy tour around the US

But, I wouldnt quit your day job

[Len Colby]

In fact, I have known since November 18, 1963 that there was "A" conspiracy

Was that a confession or a typo?

[Craig Lamson]

This is a nice example of someone who has been out-of-touch with research on the authenticity of the Zapruder film, which has been proceeding at a rapid clip since the symposium on the film I organized and moderated at the Lancer Conference in 1996. Since the film has been used as the backbone of the cover up from its inception--including the creation of the "blob" of brains bulging forward, the missing right-front cranial mass from the x-rays, the caption for frame 313 in LIFE magazine describing how the direction of the shot was determined by the study of the film, and Abraham Zapruder's appearance on television that evening, using his had to show a blow-out to the right-front that did not occur--it would have been extremely unfortunate had Doug Horne followed the advice of J. Raymond Carroll and suppressed his research on the film. Indeed, one of the great virtues of Vol. IV is its exposure of film fakery.

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated. After all, anyone who takes for granted that the film is authentic--as have generations of students of the crime in generations past--will be unable to reconstruct what actually happened in Dealey Plaza during the assassination, since some events--such as William Greer bringing the limousine to a halt to make certain JFK would be killed, Motorcycle Patrolman Cheney's motoring forward to advise Chief Curry that he had been shot, and Mary Moorman and Jean Hill's stepping into the street to take Mary's famous Polariod--have been removed, while other events--such as the bulging "blob", the blood spray, and the passengers being thrown forward WHILE THE LIMO WAS ACCELERATING--have been added in. Horne's studies reinforce these discoveries.

I especially like the manner in which Doug Horne encourages other students of JFK to abandon their long-held but provably-false belief in Zapruder film authenticity:

The biggest problem we face right now in the JFK research community are the legions of "old guard" researchers who refuse to face this fact [that the Z-film has been fabricated] and who stubbornly cling to some piece of "bedrock evidence", which in their mind will lead them out of the wilderness if only they study it long enough and can divine its true meaning. For Thompson, Wrone, Weisberg, Groden, and may others, the Zapruder film has been this piece of bedrock evidence for over four decades. I say to the old guard who have continued to insist that the Zapruder film is an authentic and unaltered film in spite of the mounting evidence of its alteration, "Come on over, and see the light." You will feel better for having done so--in fact, it will liberate you. Once you accept the fact that the Zapruder film is a clever (but imperfect) forgery, you are free suddenly to believe the Dealey Plaza car stop witnesses (which include several Dallas motorcycle policemen and Bill Newman); Marily Sitzman; the Kodak laboratory personnel (who all say the original film was slit the evening of the assassination); Marilyn Willis; Erwin Schwartz; Cartha DeLoach; Dan Rather; and the Parkland doctors and nurses. For if you believe the Zapruder film is authentic, you must, of necessity, believe that all of these people are either liars, or incompetent and unreliable witnesses.

Following the lead of Noel Twyman, BLOODY TREASON (1997), who consulted Roderick Ryan, an expert on special effects from the cinema capitol of the world, who told him that the "blog" and the blood spray had been painted in, Doug Horne consulted additional experts on special effects and reported that, "When the 6K scans of frames 313 through 323 were viewed, one after the other on two high resolution video screens in the editing bay, Ned Price (who just happens to also be the Head of Restoration at a major Hollywood film studio) said: "Oh, that's horrible, that's just terrible! That's such a bad fake." His colleague, Paul Rutan, opined: "We are not looking at originals; we are looking at artwork." (By this, Rutan meant we were not looking at traveling mattes; we were looking at painted visual effects superimposed on top of the original film frames--by inference, he meant aerial imaging.) The film editor concurred with his two colleagues. To say that this was an electrifying moment would be a gross understatement.

"The considered opinions of our two film restoration professionals, who together have spent over five decades restoring and working with films of the late 1940s, 1950s, and 1960s (when visual effects were done optically--not digitally), in that one moment superseded the statements of all those in the JFK research community who have insisted for two decades now that the Zapruder film could not have been altered, because the technology did not exist to do so. Our two restoration experts know special effects in modern motion picture films far better than Josiah Thompson, or David Wrone, or Gary Mack, or Robert Groden, or me, for that matter; and their subjective opinion [better: professional judgment] trumps Rollie Zavada's as well--a man who has absolutely no experience whatsoever in the post production of visual effects in motion picture films. And while Rollie Zavada, a lifetime Kodak employee receiving retirement pay from his former employer, would certain have an apparent conflict of interest in blowing the whistle on Zapruder film forgery if his former employer was involved in its alteration, our three Hollywood film professionals had no vested interest, one way or the other, in the outcome of their examination of the 6Kscans on August 25th of 2009."

In complete opposition to J. Raymond Carroll, I assert that, if this had been the only contribution of Doug Horne's research toward a better understanding of the assassination of JFK and its cover up, it would have been worth the price of the volume by itself! I am completely and utterly in awe and admiration for his painstaking efforts and meticulous research on the most controversial aspects of the case, where I believe that it has become impossible to deny that the film is a fabrication and that the cover up cannot be understood --even remotely!--without rejecting the blindfold extended by Josiah Thompson, David Wrone, Gary Mack, Rollie Zavada and their chums and allies, who have held back major advances in research on the basis of their misconceived objections to the alteration of the film. I therefore agree with Bill Kelly in his belief that "the corner has been turned" in relation to the question of Zapruder film alteration. Jack White, David Mantik, David Healy, John Costella, David Lifton and I have known it for some time, but there is no substitute for a presentation that anyone with the capacity for objectivity can comprehend! For that--and for his diligence, his dedication, his intelligence, his self-sacrifice, and his professionalism--I congratulate him!

Perfect post Dr Fetzer

My favorite book is "Bloody Treason" by Noel Twyman

I bought it brand new back in 1997 and since the day I read Bloody Treason the whole way through I have believed 100% in alteration

I also bought "Assassination Science", "Murder In Dealey Plaza" and "The Great Zapruder Film Hoax" the day they were released or the first week they were released

Those 3 amazing books are not only all worn out from my reading them over and over and over they are still being read by me even today to check information and look up facts that are disputed by Lamson, Colby and others

I hope that Dougs 5 volumes (and the Z-film alteration in Vol4) will open the eyes of researchers who I hold in a very high regard (Groden being one of them) I know Dougs book will bring on a new wave of attacks, i just wish I didnt have to wait until X-mas to get my hands on all 5 volumes (im working on the wife as I type to let me have Volume 4 as an early present )

I wanted to use this post to thank Dr Fetzer for putting together 3 of the most important books on the assassination and 3 books that I hold in a very high regard in my own research and studies as they back up my thoughts on the assassination and photographic evidence

Thank you Dr Fetzer, I cant wait for the day that us as alterationists are proven to have been right all along

Dean

Cherry...for sure.

Your a funny guy Craig, you should go on a comedy tour around the US

But, I wouldnt quit your day job

I'm funny? You should read your posts....

[Guest James H. Fetzer]

In complete opposition to J. Raymond Carroll, I assert that, if this had been the only contribution of Doug Horne's research toward a better understanding of the assassination of JFK and its cover up, it would have been worth the price of the volume by itself! I am completely and utterly in awe and admiration for his painstaking efforts and meticulous research on the most controversial aspects of the case, where I believe that it has become impossible to deny that the film is a fabrication and that the cover up cannot be understood --even remotely!--without rejecting the blindfold extended by Josiah Thompson, David Wrone, Gary Mack, Rollie Zavada and their chums and allies, who have held back major advances in research on the basis of their misconceived objections to the alteration of the film. I therefore agree with Bill Kelly in his belief that "the corner has been turned" in relation to the question of Zapruder film alteration. Jack White, David Mantik, David Healy, John Costella, David Lifton and I have known it for some time, but there is no substitute for a presentation that anyone with the capacity for objectivity can comprehend! For that--and for his diligence, his dedication, his intelligence, his self-sacrifice, and his professionalism--I congratulate him!

Now, not to make the obvious point, but if there were no "anomalies"--if the only "proof" were that two teams were working with two films, as Bill Kelly remarks--"conducted by two different technical teams at different times, AND USING TWO DIFFERENT FILMS - types and style of hard copy celluloid"--the content of those films COULD HAVE BEEN IDENTICAL. Who knows why that might have been appropriate: perhaps one was for the historical archives and the other for public distribution? If it were not for the existence of the kinds of anomalies that we have identified in ASSASSINATION SCIENCE, MURDER IN DEALEY PLAZA, and THE GREAT ZAPRUDER FILM HOAX, it would not matter if TWO DIFFERENT TECHNICAL TEAMS WITH DIFFERENT TYPES AND STYLES OF HARD COPY had been at work. If their content had been identical, it wouldn't have mattered. It only matters BECAUSE THE CONTENT OF THE FILMS WAS DIFFERENT. Think about it, Bill. You have missed the boat again, big time, and shown that, even now, you are no more competent in relation to the photographic evidence than you are in relation to the medical and autopsy evidence! Give it a rest, Bill, before you make yourself look really dumb! Let us simply join in celebrating Doug's accomplishments! OK?

Let me say that Doug Horne has been extremely generous in acknowledging the previous work by Jack White, David Mantik, David Healy, John Costella, and David Lifton, who are those who have made the most important contributions to establishing that the Z-film has been recreated.

The very high quality of work presented by the Fetzer horde in regards to a "fabricated Z-Film". It should be noted that the above referenced horde cannot refute this, and they have tired. So much for their intellectual honesty.

www.craiglamson.com/costella.htm

www.craiglamson.com/costella2.htm

As explained in Chapter 14 of Volume IV of Doug Horne's IARRB, he does not base any of his conclusions regarding possible tampering with the Z-film on the content of the film, paralax or anything that you see in the film or argue about.

Horne contends that because there were two separate photo enlarging sessions at the NPIC, conducted by two different technical teams at different times, AND USING TWO DIFFERENT FILMS - types and style of hard copy celluloid - and one was said to have been developed at the CIA's super secret Kodak "Hawkeye Works" plant at Rochester, New York, then there's some shennagans going on and the provenance and chain of custody of the film is lost.

He does introduce new anomolies - ie. the cut corner of the Stemmons Freeway sign, and utilizes the expertise of some Hollywood special effects artists, and speculates on what could have been altered in the film had it been sent to such a CIA photo lab like the Hawkeye Works - (where they developed the CORONA satellite film at the same time), but Horne does not use the anomalies that Fetzer promotes in his book to determine that the Z-film was altered and there were two different "original" Z-films utilized at the NPIC.

So those who want to continue to discredit the anomalies noticed in the film, or defend them, can continue to do so, without bringing up what Horne details in Chapter 14 of his book.

Those who noticed the anomalies in the film may be vindicated by proof that the film was at the Hawkeye Works, but they certainly didn't tamper with evidence of a murder and obstruct justice just in order to move Mooreman off the street, - they did it to try to prevent the introduction of conclusive evidence of a gunshot from that originates from the front of the motorcade.

Bill Kelly

Edited December 9, 2009 by James H. Fetzer

[Len Colby]

DOUG HORNE: We asked Roland Zavada of Kodak, a retired film chemist and a self-taught home movie expert, to do a major authenticity study of the Zapruder film, and he did a very professional job and put a lot of work into it. My own conclusions today about the Zapruder film are in opposition to Zavada’s; he thinks it is authentic and I do not.

My conclusion is the ‘minority position’ within the research community, and is very controversial, and a lot of people think I’m wrong. But I just don’t think his study is conclusive. All of the external indicators on the film are indeed consistent with authenticity – like the date code of when the film came out of the factory, the type of film used, and the processing markings from the lab in Dallas. Well, of course they are. Any conspirator who’s going to change a movie and screw up that kind of stuff isn’t worth two cents. But I don’t think that’s the end of the story, because we uncovered two crucial witnesses from a CIA photo lab who cast serious doubt on the provenance of the film in the archives today.......

Interesting that like his fellow truthers Healy and White, Horne doesn't acknowledge Zavada's more conclusive 2nd report. I wonder if in his case he was unaware of it,which would reflect poorly on his research, or if he chose to ignore it, which would reflect poorly on his objectivity and intellectual honesty.