Alterationists: Thoughts from Gary Mack.

[Guest Duncan MacRae]

Information received from David Von Pein. Permission granted to me by Gary Mack to post on the Education Forum.

Email:

I am continually astonished at how little the alterationists know

about the Zapruder film and its history. Now, led by Doug Horne and

others, they are whining about needing a test film from the Zapruder

camera to see if its images have the same camera artifacts as the

assassination film. Their “thinking” is that the test film won’t

match and that will prove the original film is a fake. But many such

original reels exist and most, if not all, have been available at the

National Archives for decades!

The alterationists didn’t know, until I told Duncan MacRae, that the

Zapruder camera was used by the FBI for re-creations in Dealey Plaza

on May 23-24, 1964, and that the resulting film reels are at NARA II

in College Park, MD. The films presumably contain similar

intersprocket images and artifacts as those in the assassination

film. (The extremely poor quality You Tube version of one of the

reels is not an accurate representation of its image quality.)

How could the alterationists not know that? The man the FBI assigned

to investigate and analyze the assassination films, Lyndal Shaneyfelt,

testified that he used the original Zapruder, Orville Nix and Marie

Muchmore cameras. There are news films and photographs showing those

cameras sitting atop the Zapruder pedestal the day of the test!

Nor, apparently, do the alterationists know about other test reels

shot with the Zapruder camera within days and years of the

assassination. As noted in The Sixth Floor Museum’s Zapruder

chronology [linked below:]

Zapruder Film Chronology

the FBI first borrowed Zapruder’s camera on December 4, 1963, for

testing. “On December 20, the bureau concluded, ‘This camera when

operated at normal ‘run’ speed operates at 18.3 frames per second.’

This ‘clock’ was later used to determine the timing of specific events

as seen in the film.”

The timing test, which was duplicated by Bell & Howell in December

1966, involved loading the camera and filming a clock with an accurate

second hand, then counting the number of frames that were exposed over

specific times. Barring any peculiarity with the lighting on the

clocks, all such test reels will certainly reveal the same

intersprocket images and artifacts as Mr. Zapruder’s famous film.

What all this means is that when Zapruder’s camera was still in the

same condition as the day of the assassination, and when Kodachrome II

film and processing were easily available, government and private

company investigations of the operating characteristics yielded

multiple test reels that can be studied and measured.

There was no need in 1996 for the ARRB to borrow Zapruder’s camera for

use in Dallas, nor was there a need in 2000 for Rollie Zavada to use

it for his follow-up study of the original film. There was no need

because test films already existed and they are available for

examination in one form or another.

And yet, the alterationists remain completely ignorant of their

existence. Amazing!

Gary Mack

[Pamela Brown]

With all due respect, Duncan, why don't these people post themselves if they expect to have a voice in this forum? Otherwise, it just looks as though you are being used by apologists to post their excuses.

[Dean Hagerman]

Duncan

I had no idea that you are the offical spokesman for Gary Mack

Congrats!

[Karl Kinaski]

Information received from David Von Pein. Permission granted to me by Gary Mack to post on the Education Forum.

Email:

I am continually astonished at how little the alterationists know

about the Zapruder film and its history. Now, led by Doug Horne and

others, they are whining about needing a test film from the Zapruder

camera to see if its images have the same camera artifacts as the

assassination film. Their “thinking” is that the test film won’t

match and that will prove the original film is a fake. But many such

original reels exist and most, if not all, have been available at the

National Archives for decades!

The alterationists didn’t know, until I told Duncan MacRae, that the

Zapruder camera was used by the FBI for re-creations in Dealey Plaza

on May 23-24, 1964, and that the resulting film reels are at NARA II

in College Park, MD. The films presumably contain similar

intersprocket images and artifacts as those in the assassination

film. (The extremely poor quality You Tube version of one of the

reels is not an accurate representation of its image quality.)

How could the alterationists not know that? The man the FBI assigned

to investigate and analyze the assassination films, Lyndal Shaneyfelt,

testified that he used the original Zapruder, Orville Nix and Marie

Muchmore cameras. There are news films and photographs showing those

cameras sitting atop the Zapruder pedestal the day of the test!

Nor, apparently, do the alterationists know about other test reels

shot with the Zapruder camera within days and years of the

assassination. As noted in The Sixth Floor Museum’s Zapruder

chronology [linked below:]

Zapruder Film Chronology

the FBI first borrowed Zapruder’s camera on December 4, 1963, for

testing. “On December 20, the bureau concluded, ‘This camera when

operated at normal ‘run’ speed operates at 18.3 frames per second.’

This ‘clock’ was later used to determine the timing of specific events

as seen in the film.”

The timing test, which was duplicated by Bell & Howell in December

1966, involved loading the camera and filming a clock with an accurate

second hand, then counting the number of frames that were exposed over

specific times. Barring any peculiarity with the lighting on the

clocks, all such test reels will certainly reveal the same

intersprocket images and artifacts as Mr. Zapruder’s famous film.

What all this means is that when Zapruder’s camera was still in the

same condition as the day of the assassination, and when Kodachrome II

film and processing were easily available, government and private

company investigations of the operating characteristics yielded

multiple test reels that can be studied and measured.

There was no need in 1996 for the ARRB to borrow Zapruder’s camera for

use in Dallas, nor was there a need in 2000 for Rollie Zavada to use

it for his follow-up study of the original film. There was no need

because test films already existed and they are available for

examination in one form or another.

And yet, the alterationists remain completely ignorant of their

existence. Amazing!

Gary Mack

@Z-Film alteration. Reminder.

While everybody can see the limo slowing down and accelerting in the Nix-film, no such thing occurs in the Zappi film.

Edited January 9, 2010 by Karl Kinaski

[David Andrews]

I am continually astonished at how little the anti-alterationists know about visual continuity in film, and the eye's reaction to disruptions in it.

[Pamela Brown]

Information received from David Von Pein. Permission granted to me by Gary Mack to post on the Education Forum.

Email:

I am continually astonished at how little the alterationists know

about the Zapruder film and its history. Now, led by Doug Horne and

others, they are whining about needing a test film from the Zapruder

camera to see if its images have the same camera artifacts as the

assassination film. Their “thinking” is that the test film won’t

match and that will prove the original film is a fake. But many such

original reels exist and most, if not all, have been available at the

National Archives for decades!

The alterationists didn’t know, until I told Duncan MacRae, that the

Zapruder camera was used by the FBI for re-creations in Dealey Plaza

on May 23-24, 1964, and that the resulting film reels are at NARA II

in College Park, MD. The films presumably contain similar

intersprocket images and artifacts as those in the assassination

film. (The extremely poor quality You Tube version of one of the

reels is not an accurate representation of its image quality.)

How could the alterationists not know that? The man the FBI assigned

to investigate and analyze the assassination films, Lyndal Shaneyfelt,

testified that he used the original Zapruder, Orville Nix and Marie

Muchmore cameras. There are news films and photographs showing those

cameras sitting atop the Zapruder pedestal the day of the test!

Nor, apparently, do the alterationists know about other test reels

shot with the Zapruder camera within days and years of the

assassination. As noted in The Sixth Floor Museum’s Zapruder

chronology [linked below:]

Zapruder Film Chronology

the FBI first borrowed Zapruder’s camera on December 4, 1963, for

testing. “On December 20, the bureau concluded, ‘This camera when

operated at normal ‘run’ speed operates at 18.3 frames per second.’

This ‘clock’ was later used to determine the timing of specific events

as seen in the film.”

The timing test, which was duplicated by Bell & Howell in December

1966, involved loading the camera and filming a clock with an accurate

second hand, then counting the number of frames that were exposed over

specific times. Barring any peculiarity with the lighting on the

clocks, all such test reels will certainly reveal the same

intersprocket images and artifacts as Mr. Zapruder’s famous film.

What all this means is that when Zapruder’s camera was still in the

same condition as the day of the assassination, and when Kodachrome II

film and processing were easily available, government and private

company investigations of the operating characteristics yielded

multiple test reels that can be studied and measured.

There was no need in 1996 for the ARRB to borrow Zapruder’s camera for

use in Dallas, nor was there a need in 2000 for Rollie Zavada to use

it for his follow-up study of the original film. There was no need

because test films already existed and they are available for

examination in one form or another.

And yet, the alterationists remain completely ignorant of their

existence. Amazing!

Gary Mack

@Z-Film alteration. Reminder.

While everybody can see the limo slowing down and accelerting in the Nix-film, no such thing occurs in the Zappi film.

Another point to ponder -- in how many frames is Greer facing JFK? Just how fast is the limo going to be going with the driver looking behind him? :-0

[Karl Kinaski]

:-)

Edited April 28, 2012 by Karl Kinaski

[William Kelly]

I notice that there is no mention in the official chronology of the Zapruder film of the court case that involved Life vs. Thompson & Publisher, and the stops the Z-film made the weekend of the assassination at the NPIC and possibly the "Hawkeye Works" at Kodak's Rochester, NY HQ? - BK

Times are approximate, unless noted with an *)

November 22, 1963

12:25 p.m.

As tens of thousands of people greeted President Kennedy in downtown Dallas, Abraham Zapruder filmed two of his employees waiting near a grassy knoll just a block from Jennifer Juniors, Zapruder's clothing company. Receptionist Marilyn Sitzman waved to the camera as payroll clerk Beatrice Hester sat with her husband, Charles, on a nearby bench. "Mr. Z" then climbed atop a concrete abutment and waited. Sitzman supported him in case Zapruder became dizzy. He stood 65 feet from the center of Elm Street.

12:30 p.m.*

Zapruder filmed the Kennedy limousine after it turned onto Elm Street and captured the entire assassination—the only photographer to do so. He used a Bell & Howell Model 414PD Zoomatic Director Series camera with a Varamat 9-27mm f1.8 zoom lens, set for full close-up. Its 8mm Kodachrome II color film moved through the camera at an average speed of 18.3 frames per second, as determined by later tests.

Zapruder continued filmed after the shooting, which took less than 10 seconds. He and Sitzman jumped down and walked into the shelter of a nearby pergola as the Hesters crouched on the grass. Zapruder and Sitzman soon became separated.

12:40 p.m.

Reporter Harry McCormick of the Dallas Morning News, having raced from the Dallas Trade Mart where Kennedy was headed, noticed Zapruder in Dealey Plaza and learned what happened. Zapruder would speak only with federal investigators, so McCormick said he would contact Forrest Sorrels, the head of the Dallas Secret Service office, for him.

12:45 p.m.

Dallas Times Herald reporter Darwin Payne ran to nearby Dealey Plaza after getting word of the shooting. He heard of Zapruder and his film from two of his employees (probably Sitzman and Hester) standing outside the Texas School Book Depository. Payne then went to Zapruder's office across the street for an interview.

12:50 p.m.

Payne interviewed Zapruder and tried to get publication rights for the newspaper.

1:15 p.m.

McCormick arrived with Sorrels and headed to Zapruder's office. When Payne objected to the competing reporter's exclusive presence, McCormick and Payne were ejected. Zapruder offered to get Sorrels a copy of his film.

1:45 p.m.

Zapruder, his business partner, Erwin Schwartz, and McCormick and Sorrels departed for the nearby Dallas Morning News to develop the film. Payne was left behind.

2:00 p.m.

Since the Dallas Morning News had no film-processing capability, the foursome walked next door to Dallas' ABC network affiliate, WFAA-TV (which was co-owned with the Dallas Morning News).

2:20 p.m.

WFAA assistant news director and chief photographer Bert Shipp called Kodak, asking them to process the 8mm color film, since the station had only 16mm black-and-white film equipment.

2:31 p.m.*

Zapruder appeared live on ABC and WFAA with WFAA's program director, Jay Watson, while Schwartz stood nearby holding the camera with the film.

2:40 p.m.

Zapruder, Schwartz, and Sorrels, riding in a Dallas police car, arrived at the Kodak lab near Dallas Love Field about the time Air Force One took off for Washington with Kennedy's body.

4:00 p.m.

Kodak personnel, using a special viewer, watched the film once to determine if the processing was correct. Kodak manager Phil Chamberlain then declined to show it again for fear of accidental damage.

4:30 p.m.

Since Kodak had no facilities to make copies, Zapruder and Schwartz drove to Jamieson Films in Dallas to have prints made for investigators. Only three rolls of film were available at either Kodak or Jamieson.

6:00 p.m.

Zapruder and Schwartz returned to Kodak to have the prints processed and made available for projection.

10:00 p.m.

Schwartz and Zapruder delivered two prints to Sorrels. Sorrels asked them to take one to the Dallas Naval Air Station in nearby Grand Prairie, where a jet was immediately dispatched to take the print to FBI investigators in Washington, D.C.

11:00 p.m.

Life magazine's Pacific Bureau editor, Richard Stolley, who immediately flew from Los Angeles to Dallas after hearing of the assassination, reached Zapruder at his home by phone and arranged to meet in his office at 9:00 a.m. the next day.

November 23, 1963

8:00 a.m.

Stolley arrived at Zapruder's office an hour early and waited.

9:00 a.m.

Zapruder screened the film for Secret Service agents, then met with Stolley and agreed to sell only print rights of the film to Life. He expressed concern that the film not be exploited. Stolley left with the original film, which was couriered to Life's editorial office and printing center in Chicago (Zapruder kept the remaining print). Life personnel examined the film to decide which frames to publish. At some point, they accidentally damaged the original film in two places, and six frames were removed, leaving visible splice marks.

November 24, 1963

A second color home movie, made by Charles Bronson—from one block away and showing the fatal shot to Kennedy—was dropped off at Kodak with a note that the film included the assassination. FBI agents watched the film with Bronson the next afternoon but found nothing of importance to their investigation.

November 25, 1963

Life publisher C.D. Jackson, after viewing a copy of the Zapruder film in New York, instructed Stolley to purchase remaining television and movie rights for a price that eventually reached $150,000 plus royalties; the purchase included Zapruder's copy of the film made in Dallas the afternoon of the assassination. Zapruder donated the first $25,000 to the widow of Dallas Police Officer J.D. Tippit, who was killed 45 minutes after the assassination when he stopped Lee Harvey Oswald in the Dallas suburb of Oak Cliff.

A third color home movie, filmed by Marie Muchmore and showing the fatal shot from a different angle, was purchased by United Press International (UPI), processed in Dallas at Kodak and flown to New York City. A description of the film's contents with several color frames was sent to UPI subscribers, and the entire film appeared the following day on WNEW-TV in New York City.

November 27, 1963

UPI and the Associated Press (AP) obtained rights from Life magazine to distribute seven frames of the Zapruder film to subscriber newspapers and magazines around the world to promote Life's new issue, which included many additional frames.

November 28, 1963

Zapruder granted a brief radio interview to Don Michel of WRAL in Anna, Illinois.

November 29, 1963

Life published 31 black-and-white frames in its quickly revamped weekly issue, then printed nine frames in color two weeks later in a special memorial edition.

December 1, 1963

A fourth color home movie, filmed by Orville Nix, of the fatal shot was processed and loaned to the FBI in Dallas. Nix sold the film to UPI in New York five days later.

December 4, 1963

The FBI borrowed Zapruder's camera for testing. On December 20, the bureau concluded, "This camera when operated at normal 'run' speed operates at 18.3 frames per second." This "clock" was later used to determine the timing of specific events as seen in the film.

January 27, 1964

Warren Commission members studied copies of the Zapruder film for a week with members of the FBI and the Secret Service.

February 25, 1964

Life showed the original film several times to Warren Commission, FBI and Secret Service personnel, and then offered to make 35mm color slides of frames 171-334, which covered what was thought to be all of the assassination.

May 23-24, 1964

The Warren Commission conducted a series of field study tests with the Zapruder camera in Dealey Plaza. Following the tests, on June 23, the camera was returned to Bell & Howell, who had offered to exchange it with Zapruder for a newer model.

October 2, 1964

Life's Warren Report issue, which came out just one week after the report's release, featured several color frames from the film, including one of the gruesome head shot. Shortly after the press run began, Life stopped the presses and replaced that frame with one that was much less graphic. Not long after resuming the press run, Life changed the new frame's caption, resulting in another costly shutdown.

November 30, 1964

The Warren Commission published 26 volumes of evidence, with black-and-white reproductions of frames 171-334, including the area between the sprocket holes not normally seen when projected. The Government Printing Office printed approximately 3,500 sets.

1964

Following the release of the Warren Report and 26 volumes of evidence, the Secret Service produced a 22-minute educational film titled, Assassination of President John F. Kennedy. The film was made in cooperation with the Dallas Police Department and Chief Jesse Curry and included Secret Service special agents John Joe Howlett and Talmadge Bailey. Dallas CBS affiliate KRLD provided production facilities. The film was supervised by KRLD news director Eddie Barker, narrated by Jim Underwood and filmed by Underwood and Henk Dewit. The film included re-creations of the motorcade route, the assassin's actions immediately after the shooting and a black-and-white version of the Zapruder film copy held by the Secret Service.

November 22, 1966

Freelance New York reporter Marvin Scott interviewed Zapruder in Dallas about his film and the assassination. In 2003, Scott donated his original tapes of the interview—which include an interview with Zapruder's receptionist, Marilyn Sitzman—to The Sixth Floor Museum at Dealey Plaza.

November 25, 1966

Life magazine questioned the Warren Report, asking "Did Oswald Act Alone? A Matter of Reasonable Doubt." The black magazine cover featured all of Zapruder frame 230.

December 7, 1966

After testing the camera's average running speed, which matched the FBI's earlier measurement of 18.3 frames per second, Bell & Howell donated the Zapruder camera and carrying case to the National Archives and Records Administration (NARA).

May 15, 1967

Time Inc., parent company of Life magazine, registered a copyright on the original Zapruder film.

June 26, 1967

Zapruder appeared in part two of the television special, CBS News Inquiry: The Warren Report, in an interview with Dallas newsman Eddie Barker filmed in Dealey Plaza.

February 1968

Life hired a New Jersey film lab, Technical Animations, to make a 35mm film copy of the original 8mm Zapruder film. Vice President and General Manager Moses Weitzman made several copies, gave the best one to Life and kept the rejects.

February 13, 1969

In New Orelans, Zapruder testified for the prosecution in the Jim Garrison investigation into a possible Kennedy conspiracy involving Clay Shaw. During the film's first public showing, Zapruder confirmed its authenticity. Garrison showed the film to the jury 10 times.

February 14, 1969

In an evening news program, Los Angeles station KTLA aired a copy of the Zapruder film, narrated by anchor Hal Fishman. The broadcast included reports of the day's testimony in the Clay Shaw trial in New Orleans.

December 26, 1969

Life magazine published another frame from the film in a special double issue about the 1960s.

1969

Technical Animations employee Robert Groden copied a Weitzman print and stored it in a bank vault. Over the next six years, using an optical printer, he made multiple copies with special effects, such as close-ups and repositioning, to remove shakiness and improve clarity.

August 30, 1970

Abraham Zapruder died of cancer in Dallas.

June 1974

Time Inc. asked the National Archives if it would be interested in acquiring the film as a donation. Legal complications prevented further discussions.

January 31, 1975

Groden premiered his enhanced film at a conference at Boston University, sponsored by the conspiracy-oriented Assassination Information Bureau. The showing caused a sensation.

February 1975

Groden showed his enhanced film to the Rockefeller Commission looking into CIA activities. Also present was David Belin, executive director of the Rockefeller Commission and former Warren Commission counsel.

March 6, 1975

ABC News reporter Geraldo Rivera convinced network executives to show Groden's version of the film on his weekly Good Night America talk show. It was the first time the film appeared on network television. Many believed the backward movement of the president's head and upper body "proved" the fatal shot came from the front, not from behind in the Texas School Book Depository.

April 9, 1975

Time, Inc. transferred the copyright and film to the Zapruder family. Two days later, the family—widow Lillian, son Henry and daughter Myrna—formed the LMH Company to manage the film. Shortly afterward, NARA agreed to store the film as a courtesy.

April 15, 1975

Virginia congressman Thomas Downing and others watched Groden's copy of the film and two days later introduced a resolution that led to the creation of a House Select Committee on Assassinations (HSCA) 17 months later. The HSCA re-examined the JFK and Martin Luther King, Jr. murders, concluding both were probably the result of conspiracies, but that Lee Harvey Oswald and James Earl Ray were the respective assassins.

November 25, 1975

Starting with a CBS News special and followed by a 1980 BBC documentary produced by journalist Anthony Summers, the Zapruder film—and still frames from it—was licensed for occasional news and documentary use.

1991

Director Oliver Stone's dramatization of the discredited Garrison investigation in the movie JFK revived doubts about the assassination, and the big-screen Zapruder images contributed to further questions about withheld evidence.

Responding to public outcry over government secrecy surrounding parts of the assassination, Congress passed a bill—known as the JFK Act—creating an Assassination Records Review Board (ARRB) to oversee the release of all classified federal records about all aspects of the assassination and subsequent investigations.March 1993

The Zapruder family sought the return of the original film from NARA.

October 1994

The Zapruder family again asked for the return of the film, but NARA declined, citing the 1992 JFK Act.

1995

Responding to public testimony, the ARRB voted to obtain and release all documents connected with the assassination, whether in public hands or private.

May 1996

The ARRB met to discuss photographic records relating to the assassination and the Zapruder film, specifically.

June 1996

The ARRB met with the Eastman Kodak Company to seek scientific advice and analysis of the Zapruder film and other photographic records.

September 1996

Kodak scientists James Milch and Roland Zavada examined the original Zapruder film and two first-generation copies at NARA for the ARRB.

November 1996

The Zapruder camera was loaned from the National Archives to The Sixth Floor Museum at Dealey Plaza in Dallas. The camera was displayed for five years as part of the Museum's "The Photographers and The Evidence" exhibition.

December 1996

Zavada prepared a preliminary findings report and met with the ARRB.

March 1997

Doug Horne of the ARRB staff presented a description report of all Zapruder film copies held by NARA.

April 1997

The ARRB declared the Zapruder film an assassination record and moved to acquire it under constitutional guidelines requiring fair compensation to the owner. Complications arose when appraisers estimated the film's value in the millions of dollars.

April 2, 1997

The ARRB held a public hearing for recommendations concerning about the original Zapruder film and the possibility of confiscating the film.

April 24, 1997

The ARRB decided unanimously to confiscate the film by designating it an assassination record.

June-July 1997

The ARRB met with five former Dallas Kodak lab employees to verify how the film was handled and processed the day of the assassination.

August 1997

Kodak rehired retired scientist Zavada to oversee and prepare a study of the film and final report for the ARRB. Kodak representatives met with the ARRB to finalize responsibilities and fees, and they eventually donated $11,000 worth of time and expertise for Zapruder film analyses.

September 1997

Zavada conducted a second examination of the original Zapruder film and copies held by NARA.

July 13, 1998

The Zapruder film, in a newly restored and digital format, debuted as a documentary video produced by MPI Home Video, in cooperation with the Zapruder family. Researchers complained that the images were distorted due to analog-to-digital production errors.

August 1, 1998

Ownership of the Zapruder film was officially transferred to the JFK collection at NARA as established by the JFK Act, but the Zapruder family retained all copyrights.

September 25, 1998

Zavada's lengthy final report authenticating the film as being the camera-original was presented to the ARRB.

August 3, 1999

A special arbitration panel of the Justice Department awarded $16 million plus interest to the Zapruder family as compensation for the government's acquisition of the film.

December 30, 1999

The Zapruder family donated their collection of Zapruder films and photographs, along with all copyrights to the film, to The Sixth Floor Museum at Dealey Plaza.

[Guest James H. Fetzer]

Not to impugn Bill Kelly's reasoning capacity, but arguments as to why the film cannot have been subjected to alteration are simply ridiculous and beside the point when we have proof that the film is a fabrication! Kelly must be a graduate of The Josiah Thompson School of Sophistry, where his students are taught the arts of deception and of obfuscation. We have multiple lines of reasoning that have established that the film is a fabrication. Indeed, since there is no reasonable alternative explanation to the hypothesis that the film is a fabrication -- and see the Prologue to HOAX (2003) and John P. Costella's introductory tutorial at http://assassinationscience.com/johncostella/jfk/intro/ for more -- the hypothesis that the film is a fabrication has actually been proven beyond a reasonable doubt. If Bill Kelly wants to dispute that, let him study the evidence I have identified here, which I doubt that he has ever even read, much less understood, namely:

(1) Mary and Jean had stepped into the street to take Mary's famous polaroid (http://www.jfkresearch.com/Moorman/);

(2) Chaney motored forward (http://www.opednews.com/articles/opedne_jim_fetz_080205_new_proof_of_jfk_fil.htm);

(3) the "blob" (http://www.opednews.com/articles/Zapruder-JFK-Film-Impeache-by-Jim-Fetzer-090324-48.html); and,

(4) direct observation of fakery reported by Doug Horne, INSIDE THE ARRB (2009), Vol. IV, pages 1352 to 1363.

Of course, the film does not show Mary and Jean in the street, but the evidence -- including especially their own repeated and consistent reports -- substantiates it. For Gary Mack's role in suppressing and distorting Mary's ability to speak the truth as she lived it, read the Appendix from "Pig on a Leash", where David Lifton summarizes Gary Mack's behavior. And of course the film does not show Officer James Chaney motoring forward, but we have confirming evidence from multiple sources, including:

* James Chaney (motorcycle patrolman on right rear of the Presidential limousine): “I went ahead of the President’s car to inform Chief Curry that the President had been hit. And then he instructed us over the air to take him to Parkland Hospital and that Parkland was standing by.”

* Bobby Hargis (motorcycle patrolman on left rear of the Presidential limousine): “The motorcycle officer on the right side of the car was Jim Chaney. He immediately went forward and announced to the Chief that the President had been shot.”

* Winston Lawson (Secret Service Agent in the lead car in front of the Presidential limousine): “A motorcycle escort officer pulled along side our Lead Car and said the President had been shot. Chief Curry gave a signal over the radio for police to converge on the area of the incident.”

* Forrest Sorrels (Secret Service Agent in the lead car in front of the Presidential limousine): “A motorcycle patrolman pulled up alongside of the car and Chief Curry yelled, ‘Is anybody hurt?’, to which the officer responded in the affirmative.”

* Chief Jesse Curry (in the lead car in front of the Presidential limousine): “. . . about this time a motorcycle officer, I believe it was Officer Chaney, rode up beside us and I asked if something happened back there and he said, ‘Yes,’ and I said ‘Has somebody been shot?” And he said, ‘I think so.’”

And, of course, as even Bill Kelly must know, the Zapruder film shows a bulging out of brains to the right front -- called the "blob" -- which extends from frame 313 to around frame 340 But the medical evidence, including the McClelland diagram in Tink's book on page 107 and the testimony by Officer Hargis, which he quotes on page 100, indicate that the blow out was to the left and rear. Does that cause you any concern that the medical evidence contradicts what is seen in the film? And, by the way, if you look at frame 374, you can actually see the massive defect at the back of his head and the skull flap extending from his cranium. Even if we leave Mary and Jean as "frozen turkeys" on the grass, the gross inconsistency between the medical evidence and the film demonstrates by itself that the film has been falsified.

Moreover, as Doug Horne explains on page 1352, he made preliminary contact by email with Sydney Wilkinson, an accomplished professional in film and video post-production in Hollywood, who had decades of experience dealing with editors, experts in film restoration, and film studio executives. Through her, he arranged to have a 6k (6,000 pixels per frame) version of the Zapruder film viewed by Ned Price, an accomplished film restoration specialist with 24 years experience restoring films from 1919 to the present, Paul Rutan, Jr., the President and CEO of a Hollywood film restoration company, and an independent film editor with about three decades of practical experience, whom he does not name. As Doug reports on page 1361, when they viewed frames 313 through 323, Price, who is the head of a restoration at a major Hollywood film studio, said, "Oh, that's horrible, that's just terrible! That's such a bad fake." And Rutan observed, "We are not looking at opticals: we are looking at artwork", meaning that they were looking at effects that were actually painted onto the original film frames. This is a simple and obvious proof involving direct perception.

What they discovered was that the massive blow-out to the back of the head (which you can see for yourself in frame 374) had been painted over in black and that the "blob" and the blood spray had been painted in. They therefore agreed with Roderick Ryan, who told Noel Twyman, BLOODY TREASON (1997), the same thing, which you can read for yourself on pages 159 and 160. Ryan, by the way, received the Academy Award for his important contributions to special-effects cinematography in 2000. While Doug says this is not yet "scientific proof" of alteration, he was mistaken in saying that. Observation, measurement, and experiment are fundamental to scientific inquiries. By creating a 6k version of the film and inviting experts to observe it, he was conducting an experiment with trained observers and soliciting their professional judgment. By comparing those frames with frame 374, for example, the deception is apparent based upon comparisons of the frames themselves. And the experiment has been replicated, where now at least eight Hollywood experts concur.

Since Doug has also established that two versions of the fim were brought to the NPIC on successive evenings -- the first on Saturday, 23 November 1963, which was an 8mm version, where they actually had to go out and buy an 8mm film projector in order to view it; the second, on Sunday, 24 November 1063. which was an unslit 16mm version, the custodian of which said had been brought from Kodak's Headquarters in Rochester, NY -- nothing remains of the chain of custody argument, which even Bill Kelly should be able to grasp. When Homer McMahon studied the first film, he concluded that there had been between six and eight impacts on occupants of the limo from at least three directions, which accords well with four to JFK and as many as three to Connally, since four plus three equals seven, a number between six and eight. But after the second film was produced, the official account became three hits from above and behind, where Homer's work was discarded. You can read about this in INSIDE THE AARB or in the second of his chapters in MURDER (2000), which is entitled "Interviews with Former NIPC Employees: The Zapruder Film in November 1963".

The current state of research leaves no latitude for fatuous claims about an unbroken chain of custody, which is even more indefensible today than it has been in the past. We are dealing with history, not fantasy, and if Bill Kelly and Josiah Thompson want to indulge their infantile mind sets, they should find a forum that is more tolerant of fairy tales.

I notice that there is no mention in the official chronology of the Zapruder film of the court case that involved Life vs. Thompson & Publisher, and the stops the Z-film made the weekend of the assassination at the NPIC and possibly the "Hawkeye Works" at Kodak's Rochester, NY HQ? - BK

Times are approximate, unless noted with an *)

November 22, 1963

12:25 p.m.

As tens of thousands of people greeted President Kennedy in downtown Dallas, Abraham Zapruder filmed two of his employees waiting near a grassy knoll just a block from Jennifer Juniors, Zapruder's clothing company. Receptionist Marilyn Sitzman waved to the camera as payroll clerk Beatrice Hester sat with her husband, Charles, on a nearby bench. "Mr. Z" then climbed atop a concrete abutment and waited. Sitzman supported him in case Zapruder became dizzy. He stood 65 feet from the center of Elm Street.

12:30 p.m.*

Zapruder filmed the Kennedy limousine after it turned onto Elm Street and captured the entire assassination—the only photographer to do so. He used a Bell & Howell Model 414PD Zoomatic Director Series camera with a Varamat 9-27mm f1.8 zoom lens, set for full close-up. Its 8mm Kodachrome II color film moved through the camera at an average speed of 18.3 frames per second, as determined by later tests.

Zapruder continued filmed after the shooting, which took less than 10 seconds. He and Sitzman jumped down and walked into the shelter of a nearby pergola as the Hesters crouched on the grass. Zapruder and Sitzman soon became separated.

12:40 p.m.

Reporter Harry McCormick of the Dallas Morning News, having raced from the Dallas Trade Mart where Kennedy was headed, noticed Zapruder in Dealey Plaza and learned what happened. Zapruder would speak only with federal investigators, so McCormick said he would contact Forrest Sorrels, the head of the Dallas Secret Service office, for him.

12:45 p.m.

Dallas Times Herald reporter Darwin Payne ran to nearby Dealey Plaza after getting word of the shooting. He heard of Zapruder and his film from two of his employees (probably Sitzman and Hester) standing outside the Texas School Book Depository. Payne then went to Zapruder's office across the street for an interview.

12:50 p.m.

Payne interviewed Zapruder and tried to get publication rights for the newspaper.

1:15 p.m.

McCormick arrived with Sorrels and headed to Zapruder's office. When Payne objected to the competing reporter's exclusive presence, McCormick and Payne were ejected. Zapruder offered to get Sorrels a copy of his film.

1:45 p.m.

Zapruder, his business partner, Erwin Schwartz, and McCormick and Sorrels departed for the nearby Dallas Morning News to develop the film. Payne was left behind.

2:00 p.m.

Since the Dallas Morning News had no film-processing capability, the foursome walked next door to Dallas' ABC network affiliate, WFAA-TV (which was co-owned with the Dallas Morning News).

2:20 p.m.

WFAA assistant news director and chief photographer Bert Shipp called Kodak, asking them to process the 8mm color film, since the station had only 16mm black-and-white film equipment.

2:31 p.m.*

Zapruder appeared live on ABC and WFAA with WFAA's program director, Jay Watson, while Schwartz stood nearby holding the camera with the film.

2:40 p.m.

Zapruder, Schwartz, and Sorrels, riding in a Dallas police car, arrived at the Kodak lab near Dallas Love Field about the time Air Force One took off for Washington with Kennedy's body.

4:00 p.m.

Kodak personnel, using a special viewer, watched the film once to determine if the processing was correct. Kodak manager Phil Chamberlain then declined to show it again for fear of accidental damage.

4:30 p.m.

Since Kodak had no facilities to make copies, Zapruder and Schwartz drove to Jamieson Films in Dallas to have prints made for investigators. Only three rolls of film were available at either Kodak or Jamieson.

6:00 p.m.

Zapruder and Schwartz returned to Kodak to have the prints processed and made available for projection.

10:00 p.m.

Schwartz and Zapruder delivered two prints to Sorrels. Sorrels asked them to take one to the Dallas Naval Air Station in nearby Grand Prairie, where a jet was immediately dispatched to take the print to FBI investigators in Washington, D.C.

11:00 p.m.

Life magazine's Pacific Bureau editor, Richard Stolley, who immediately flew from Los Angeles to Dallas after hearing of the assassination, reached Zapruder at his home by phone and arranged to meet in his office at 9:00 a.m. the next day.

November 23, 1963

8:00 a.m.

Stolley arrived at Zapruder's office an hour early and waited.

9:00 a.m.

Zapruder screened the film for Secret Service agents, then met with Stolley and agreed to sell only print rights of the film to Life. He expressed concern that the film not be exploited. Stolley left with the original film, which was couriered to Life's editorial office and printing center in Chicago (Zapruder kept the remaining print). Life personnel examined the film to decide which frames to publish. At some point, they accidentally damaged the original film in two places, and six frames were removed, leaving visible splice marks.

November 24, 1963

A second color home movie, made by Charles Bronson—from one block away and showing the fatal shot to Kennedy—was dropped off at Kodak with a note that the film included the assassination. FBI agents watched the film with Bronson the next afternoon but found nothing of importance to their investigation.

November 25, 1963

Life publisher C.D. Jackson, after viewing a copy of the Zapruder film in New York, instructed Stolley to purchase remaining television and movie rights for a price that eventually reached $150,000 plus royalties; the purchase included Zapruder's copy of the film made in Dallas the afternoon of the assassination. Zapruder donated the first $25,000 to the widow of Dallas Police Officer J.D. Tippit, who was killed 45 minutes after the assassination when he stopped Lee Harvey Oswald in the Dallas suburb of Oak Cliff.

A third color home movie, filmed by Marie Muchmore and showing the fatal shot from a different angle, was purchased by United Press International (UPI), processed in Dallas at Kodak and flown to New York City. A description of the film's contents with several color frames was sent to UPI subscribers, and the entire film appeared the following day on WNEW-TV in New York City.

November 27, 1963

UPI and the Associated Press (AP) obtained rights from Life magazine to distribute seven frames of the Zapruder film to subscriber newspapers and magazines around the world to promote Life's new issue, which included many additional frames.

November 28, 1963

Zapruder granted a brief radio interview to Don Michel of WRAL in Anna, Illinois.

November 29, 1963

Life published 31 black-and-white frames in its quickly revamped weekly issue, then printed nine frames in color two weeks later in a special memorial edition.

December 1, 1963

A fourth color home movie, filmed by Orville Nix, of the fatal shot was processed and loaned to the FBI in Dallas. Nix sold the film to UPI in New York five days later.

December 4, 1963

The FBI borrowed Zapruder's camera for testing. On December 20, the bureau concluded, "This camera when operated at normal 'run' speed operates at 18.3 frames per second." This "clock" was later used to determine the timing of specific events as seen in the film.

January 27, 1964

Warren Commission members studied copies of the Zapruder film for a week with members of the FBI and the Secret Service.

February 25, 1964

Life showed the original film several times to Warren Commission, FBI and Secret Service personnel, and then offered to make 35mm color slides of frames 171-334, which covered what was thought to be all of the assassination.

May 23-24, 1964

The Warren Commission conducted a series of field study tests with the Zapruder camera in Dealey Plaza. Following the tests, on June 23, the camera was returned to Bell & Howell, who had offered to exchange it with Zapruder for a newer model.

October 2, 1964

Life's Warren Report issue, which came out just one week after the report's release, featured several color frames from the film, including one of the gruesome head shot. Shortly after the press run began, Life stopped the presses and replaced that frame with one that was much less graphic. Not long after resuming the press run, Life changed the new frame's caption, resulting in another costly shutdown.

November 30, 1964

The Warren Commission published 26 volumes of evidence, with black-and-white reproductions of frames 171-334, including the area between the sprocket holes not normally seen when projected. The Government Printing Office printed approximately 3,500 sets.

1964

Following the release of the Warren Report and 26 volumes of evidence, the Secret Service produced a 22-minute educational film titled, Assassination of President John F. Kennedy. The film was made in cooperation with the Dallas Police Department and Chief Jesse Curry and included Secret Service special agents John Joe Howlett and Talmadge Bailey. Dallas CBS affiliate KRLD provided production facilities. The film was supervised by KRLD news director Eddie Barker, narrated by Jim Underwood and filmed by Underwood and Henk Dewit. The film included re-creations of the motorcade route, the assassin's actions immediately after the shooting and a black-and-white version of the Zapruder film copy held by the Secret Service.

November 22, 1966

Freelance New York reporter Marvin Scott interviewed Zapruder in Dallas about his film and the assassination. In 2003, Scott donated his original tapes of the interview—which include an interview with Zapruder's receptionist, Marilyn Sitzman—to The Sixth Floor Museum at Dealey Plaza.

November 25, 1966

Life magazine questioned the Warren Report, asking "Did Oswald Act Alone? A Matter of Reasonable Doubt." The black magazine cover featured all of Zapruder frame 230.

December 7, 1966

After testing the camera's average running speed, which matched the FBI's earlier measurement of 18.3 frames per second, Bell & Howell donated the Zapruder camera and carrying case to the National Archives and Records Administration (NARA).

May 15, 1967

Time Inc., parent company of Life magazine, registered a copyright on the original Zapruder film.

June 26, 1967

Zapruder appeared in part two of the television special, CBS News Inquiry: The Warren Report, in an interview with Dallas newsman Eddie Barker filmed in Dealey Plaza.

February 1968

Life hired a New Jersey film lab, Technical Animations, to make a 35mm film copy of the original 8mm Zapruder film. Vice President and General Manager Moses Weitzman made several copies, gave the best one to Life and kept the rejects.

February 13, 1969

In New Orelans, Zapruder testified for the prosecution in the Jim Garrison investigation into a possible Kennedy conspiracy involving Clay Shaw. During the film's first public showing, Zapruder confirmed its authenticity. Garrison showed the film to the jury 10 times.

February 14, 1969

In an evening news program, Los Angeles station KTLA aired a copy of the Zapruder film, narrated by anchor Hal Fishman. The broadcast included reports of the day's testimony in the Clay Shaw trial in New Orleans.

December 26, 1969

Life magazine published another frame from the film in a special double issue about the 1960s.

1969

Technical Animations employee Robert Groden copied a Weitzman print and stored it in a bank vault. Over the next six years, using an optical printer, he made multiple copies with special effects, such as close-ups and repositioning, to remove shakiness and improve clarity.

August 30, 1970

Abraham Zapruder died of cancer in Dallas.

June 1974

Time Inc. asked the National Archives if it would be interested in acquiring the film as a donation. Legal complications prevented further discussions.

January 31, 1975

Groden premiered his enhanced film at a conference at Boston University, sponsored by the conspiracy-oriented Assassination Information Bureau. The showing caused a sensation.

February 1975

Groden showed his enhanced film to the Rockefeller Commission looking into CIA activities. Also present was David Belin, executive director of the Rockefeller Commission and former Warren Commission counsel.

March 6, 1975

ABC News reporter Geraldo Rivera convinced network executives to show Groden's version of the film on his weekly Good Night America talk show. It was the first time the film appeared on network television. Many believed the backward movement of the president's head and upper body "proved" the fatal shot came from the front, not from behind in the Texas School Book Depository.

April 9, 1975

Time, Inc. transferred the copyright and film to the Zapruder family. Two days later, the family—widow Lillian, son Henry and daughter Myrna—formed the LMH Company to manage the film. Shortly afterward, NARA agreed to store the film as a courtesy.

April 15, 1975

Virginia congressman Thomas Downing and others watched Groden's copy of the film and two days later introduced a resolution that led to the creation of a House Select Committee on Assassinations (HSCA) 17 months later. The HSCA re-examined the JFK and Martin Luther King, Jr. murders, concluding both were probably the result of conspiracies, but that Lee Harvey Oswald and James Earl Ray were the respective assassins.

November 25, 1975

Starting with a CBS News special and followed by a 1980 BBC documentary produced by journalist Anthony Summers, the Zapruder film—and still frames from it—was licensed for occasional news and documentary use.

1991

Director Oliver Stone's dramatization of the discredited Garrison investigation in the movie JFK revived doubts about the assassination, and the big-screen Zapruder images contributed to further questions about withheld evidence.

Responding to public outcry over government secrecy surrounding parts of the assassination, Congress passed a bill—known as the JFK Act—creating an Assassination Records Review Board (ARRB) to oversee the release of all classified federal records about all aspects of the assassination and subsequent investigations.March 1993

The Zapruder family sought the return of the original film from NARA.

October 1994

The Zapruder family again asked for the return of the film, but NARA declined, citing the 1992 JFK Act.

1995

Responding to public testimony, the ARRB voted to obtain and release all documents connected with the assassination, whether in public hands or private.

May 1996

The ARRB met to discuss photographic records relating to the assassination and the Zapruder film, specifically.

June 1996

The ARRB met with the Eastman Kodak Company to seek scientific advice and analysis of the Zapruder film and other photographic records.

September 1996

Kodak scientists James Milch and Roland Zavada examined the original Zapruder film and two first-generation copies at NARA for the ARRB.

November 1996

The Zapruder camera was loaned from the National Archives to The Sixth Floor Museum at Dealey Plaza in Dallas. The camera was displayed for five years as part of the Museum's "The Photographers and The Evidence" exhibition.

December 1996

Zavada prepared a preliminary findings report and met with the ARRB.

March 1997

Doug Horne of the ARRB staff presented a description report of all Zapruder film copies held by NARA.

April 1997

The ARRB declared the Zapruder film an assassination record and moved to acquire it under constitutional guidelines requiring fair compensation to the owner. Complications arose when appraisers estimated the film's value in the millions of dollars.

April 2, 1997

The ARRB held a public hearing for recommendations concerning about the original Zapruder film and the possibility of confiscating the film.

April 24, 1997

The ARRB decided unanimously to confiscate the film by designating it an assassination record.

June-July 1997

The ARRB met with five former Dallas Kodak lab employees to verify how the film was handled and processed the day of the assassination.

August 1997

Kodak rehired retired scientist Zavada to oversee and prepare a study of the film and final report for the ARRB. Kodak representatives met with the ARRB to finalize responsibilities and fees, and they eventually donated $11,000 worth of time and expertise for Zapruder film analyses.

September 1997

Zavada conducted a second examination of the original Zapruder film and copies held by NARA.

July 13, 1998

The Zapruder film, in a newly restored and digital format, debuted as a documentary video produced by MPI Home Video, in cooperation with the Zapruder family. Researchers complained that the images were distorted due to analog-to-digital production errors.

August 1, 1998

Ownership of the Zapruder film was officially transferred to the JFK collection at NARA as established by the JFK Act, but the Zapruder family retained all copyrights.

September 25, 1998

Zavada's lengthy final report authenticating the film as being the camera-original was presented to the ARRB.

August 3, 1999

A special arbitration panel of the Justice Department awarded $16 million plus interest to the Zapruder family as compensation for the government's acquisition of the film.

December 30, 1999

The Zapruder family donated their collection of Zapruder films and photographs, along with all copyrights to the film, to The Sixth Floor Museum at Dealey Plaza.

Edited January 9, 2010 by James H. Fetzer

[Pat Speer]

Not to impugn Bill Kelly's reasoning capacity, but arguments as to why the film cannot have been subjected to alteration are simply ridiculous and beside the point when we have proof that the film is a fabrication! Kelly must be a graduate of The Josiah Thompson's School of Sophistry, where his students are taught the arts of deception and of obfuscation. We have multiple lines of reasoning that have established that the film is a fabrication. Indeed, since there is no reasonable alternative explanation to the hypothesis that the film is a fabrication -- and see the Prologue to HOAX (2003) and John P. Costella's introductory tutorial at http://assassinationscience.com/johncostella/jfk/intro/ for more -- the hypothesis that the film is a fabrication has actually been proven beyond a reasonable doubt. If Bill Kelly wants to dispute that, let him study the evidence I have identified here, which I doubt that he has ever even read, much less understood, namely:

(1) Mary and Jean had stepped into the street to take Mary's famous polaroid (http://www.jfkresearch.com/Moorman/);

(2) Chaney motored forward (http://www.opednews.com/articles/opedne_jim_fetz_080205_new_proof_of_jfk_fil.htm);

(3) the "blob" (http://www.opednews.com/articles/Zapruder-JFK-Film-Impeache-by-Jim-Fetzer-090324-48.html); and,

(4) direct observation of fakery reported by Doug Horne, INSIDE THE ARRB (2009), Vol. IV, pages 1352 to 1363.

Of course, the film does not show Mary and Jean in the street, but the evidence -- including especially their own repeated and consistent reports -- substantiates it. For Gary Mack's role in suppressing and distorting Mary's ability to speak the truth as she lived it, read the Appendix from "Pig on a Leash", where David Lifton summarizes Gary Mack's behavior. And of course the film does not show Officer James Chaney motoring forward, but we have confirming evidence from multiple sources, including:

* James Chaney (motorcycle patrolman on right rear of the Presidential limousine): “I went ahead of the President’s car to inform Chief Curry that the President had been hit. And then he instructed us over the air to take him to Parkland Hospital and that Parkland was standing by.”

* Bobby Hargis (motorcycle patrolman on left rear of the Presidential limousine): “The motorcycle officer on the right side of the car was Jim Chaney. He immediately went forward and announced to the Chief that the President had been shot.”

* Winston Lawson (Secret Service Agent in the lead car in front of the Presidential limousine): “A motorcycle escort officer pulled along side our Lead Car and said the President had been shot. Chief Curry gave a signal over the radio for police to converge on the area of the incident.”

* Forrest Sorrels (Secret Service Agent in the lead car in front of the Presidential limousine): “A motorcycle patrolman pulled up alongside of the car and Chief Curry yelled, ‘Is anybody hurt?’, to which the officer responded in the affirmative.”

* Chief Jesse Curry (in the lead car in front of the Presidential limousine): “. . . about this time a motorcycle officer, I believe it was Officer Chaney, rode up beside us and I asked if something happened back there and he said, ‘Yes,’ and I said ‘Has somebody been shot?” And he said, ‘I think so.’”

And, of course, as even Bill Kelly must know, the Zapruder film shows a bulging out of brains to the right front -- called the "blob" -- which extends from frame 313 to around frame 340 But the medical evidence, including the McClelland diagram in Tink's book on page 107 and the testimony by Officer Hargis, which he quotes on page 100, indicate that the blow out was to the left and rear. Does that cause you any concern that the medical evidence contradicts what is seen in the film? And, by the way, if you look at frame 374, you can actually see the massive defect at the back of his head and the skull flap extending from his cranium. Even if we leave Mary and Jean as "frozen turkeys" on the grass, does anything about the inconsistency between the medical evidence and the film demonstrates by itself that the film has been falsified.

Moreover, as Doug Horne explains on page 1352, he made preliminary contact by email with Sydney Wilkinson, an accomplished professional in film and video post-production in Hollywood, who had decades of experience dealing with editors, experts in film restoration, and film studio executives. Through her, he arranged to have a 6k (6,000 pixels per frame) version of the Zapruder film viewed by Ned Price, an accomplished film restoration specialist with 24 years experience restoring films from 1919 to the present, Paul Rutan, Jr., the President and CEO of a Hollywood film restoration company, and an independent film editor with about three decades of practical experience, whom he does not name. As Doug reports on page 1361, when they viewed frames 313 through 323, Price, who is the head of a restoration at a major Hollywood film studio, said, "Oh, that's horrible, that's just terrible! That's such a bad fake." And Rutan observed, "We are not looking at opticals: we are looking at artwork", meaning that they were looking at effects that were actually painted onto the original film frames. This is a simple and obvious proof involving direct perception.

What they discovered was that the massive blow-out to the back of the head (which you can see for yourself in frame 374) had been painted over in black and that the "blob" and the blood spray had been painted in. They therefore agreed with Roderick Ryan, who told Noel Twyman, BLOODY TREASON (1997), the same thing, which you can read for yourself on pages 159 and 160. Ryan, by the way, received the Academy Award for his important contributions to special-effects cinematography in 2000. While Doug says this is not yet "scientific proof" of alteration, he was mistaken in saying that. Observation, measurement, and experiment are fundamental to scientific inquiries. By creating a 6k version of the film and inviting experts to observe it, he was conducting an experiment with trained observers and soliciting their professional judgment. By comparing those frames with frame 374, for example, the deception is apparent based upon comparisons of the frames themselves. And the experiment has been replicated, where now at least eight Hollywood experts concur.

Since Doug has also established that two versions of the fim were brought to the NPIC on successive evenings -- the first on Saturday, 23 November 1963, which was an 8mm version, where they actually had to go out and buy an 8mm film projector in order to view it; the second, on Sunday, 24 November 1063. which was an unslit 16mm version, the custodian of which said had been brought from Kodak's Headquarters in Rochester, NY -- nothing remains of the chain of custody argument, which even Bill Kelly should be able to grasp. When Homer McMahon studied the first film, he concluded that there had been between six and eight impacts on occupants of the limo from at least three directions, which accords well with four to JFK and as many as three to Connally, since four plus three equals seven, a number between six and eight. But after the second film was produced, the official account became three hits from above and behind, where Homer's work was discarded. You can read about this in INSIDE THE AARB or in the second of his chapters in MURDER (2000), which is entitled "Interviews with Former NIPC Employees: The Zapruder Film in November 1963".

The current state of research leaves no latitude for fatuous claims about an unbroken chain of custody, which is even more indefensible today than it has been in the past. We are dealing with history, not fantasy, and if Bill Kelly and Josiah Thompson want to indulge their infantile mind sets, they should find a forum that is more tolerant of fairy tales.

Classic, Jim. In your zeal to shut down all debate about the obviously debatable question of whether or not the film is a forgery, you have attacked Bill Kelly, one of the biggest supporters of Horne's work, and someone who apparently believes the film is a forgery.

By pointing out that the Sixth Floor's history of the film leaves out Hawkeye Works etc, he was calling the Sixth Floor's history into question, not that the film went to Hawkeye Works.

Am I wrong, Bill?

Edited January 9, 2010 by Pat Speer

[Jack White]

This is incredible. Jim Fetzer post a fairly comprehensive list of the most egregious

indications of alteration/fakery of the Z film, yet NOT A PERSON COMMENTS OR

DISCUSSES THE LIST OF EVIDENCE but all go off in tangents attacking Jim and

other irrelevancies.

It is obvious that everyone has OTHER INTERESTS AND AGENDAS instead of

a discussion of evidence. Incredible.

Incredible.

Jack

[Guest James H. Fetzer]

OK, Pat. I am willing to take it back and asset the opposite, but let me ask a question first: Do you acknowledge that (1) through (4) constitute massive evidence that the film is a fake? And do you agree with all of them? I am glad that Bill finds merit in Doug's work, but it would be better if he understood the full range of reasons why we know that the film is a fabrication, at least some of which he has been inclined to deny in the past. Let him say so. If his purpose was to point out that the Sixth Floor's history of the film leaves out Hawkeye Works, etc., and thereby call the Sixth Floor's history into question, then I commend him. But in the recent past he has been more than willing to accommodate Josiah Thompson and discount proofs of fabrication. I hope that is not the case with you, either. We should hold the right views for the right reasons, Pat, where these are among the most important.

Here is a perfect example of Bill Kelly's latest indulgence of Josiah Thompson's intransigence with regard to Zapruder alteration:

Bill Kelly

Yesterday, 07:37 AM

Post #7

Super Member

****

Group: Members

Posts: 4856

Joined: 20-October 05

Member No.: 3667

QUOTE (Dean Hagerman @ Jan 9 2010, 05:01 AM) *

QUOTE (Josiah Thompson @ Jan 9 2010, 04:55 AM) *

I'll tell you what I'll do, Bill. I'll just ignore this whole thread. All it is anyway is just the same old... same old.

Josiah Thompson

QUOTE (William Kelly @ Jan 9 2010, 03:52 AM) *

How many threads are there going to be on the Zapruder film, Fetzer and Thompson?

Can't you stick to just three or four?

Why start a new one every day?

Jack White already started one on this very topic.

They now take up the entire board.

(I agree the post should not have been closed)

Bill Kelly

Thats great

How many times will a thread be closed or ignored after I make a post or minutes before I make one?

I guess I will repost this in the thread I started

Dean,

You don't have to like what TT's answers are; do your own research and make up your own mind.

And I think that TT has answered Prof. Fetzer's questions, over and over.

He's not a student of Fetzer's who has to answer his questions like he's going to get graded on it. He wrote his own book, a book that stands up pretty well today, even though he's learned a lot since then and has changed his mind on a few issues.

One thing he hasn't changed his mind on is the Z-film authenticty, and it doesn't matter what the opinions are of the Hollywood special effects people, if they don't come up with evidence, proof of tampering - other than the anamolies (sic) in the film, why should he change his mind. (sic)

Proof that the Z-film was at the "Hawkeye Works" at Kodak's Rochester HQ would certainly put a dent in the chain of possession however, and that's yet to be determined.

Now that every thread on the first page is devoted to Fetzer and Thompson and the Z-film, I think I'll have to start a few of my own on some other subjects of interest - like who killed JFK.

BK

Read Bill Kelly's words:

One thing he [Josiah Thompson] hasn't changed his mind on is the Z-film authenticty, and it doesn't matter what the opinions are of the Hollywood special effects people, if they don't come up with evidence, proof of tampering - other than the anamolies (sic) in the film, why should he [Josiah Thompson] change his mind. (sic)

His position is quite simply absurd. Not only are these extremely highly qualified experts on film -- where recently Tink has been denying that he himself is a "film expert"! -- and on page 1353, I discovered that Sydney W. had purchased a dupe negative on 35 mm film of the Forensic Copy of the Zapruder film created by the National Archives. Can't do better than that! They were professional film experts using "the best possible copy" of the Zapruder film -- the very best!

Not to impugn Bill Kelly's reasoning capacity, but arguments as to why the film cannot have been subjected to alteration are simply ridiculous and beside the point when we have proof that the film is a fabrication! Kelly must be a graduate of The Josiah Thompson School of Sophistry, where his students are taught the arts of deception and of obfuscation. We have multiple lines of reasoning that have established that the film is a fabrication. Indeed, since there is no reasonable alternative explanation to the hypothesis that the film is a fabrication -- and see the Prologue to HOAX (2003) and John P. Costella's introductory tutorial at http://assassinationscience.com/johncostella/jfk/intro/ for more -- the hypothesis that the film is a fabrication has actually been proven beyond a reasonable doubt. If Bill Kelly wants to dispute that, let him study the evidence I have identified here, which I doubt that he has ever even read, much less understood, namely:

(1) Mary and Jean had stepped into the street to take Mary's famous polaroid (http://www.jfkresearch.com/Moorman/);

(2) Chaney motored forward (http://www.opednews.com/articles/opedne_jim_fetz_080205_new_proof_of_jfk_fil.htm);

(3) the "blob" (http://www.opednews.com/articles/Zapruder-JFK-Film-Impeache-by-Jim-Fetzer-090324-48.html); and,

(4) direct observation of fakery reported by Doug Horne, INSIDE THE ARRB (2009), Vol. IV, pages 1352 to 1363.

Of course, the film does not show Mary and Jean in the street, but the evidence -- including especially their own repeated and consistent reports -- substantiates it. For Gary Mack's role in suppressing and distorting Mary's ability to speak the truth as she lived it, read the Appendix from "Pig on a Leash", where David Lifton summarizes Gary Mack's behavior. And of course the film does not show Officer James Chaney motoring forward, but we have confirming evidence from multiple sources, including:

* James Chaney (motorcycle patrolman on right rear of the Presidential limousine): “I went ahead of the President’s car to inform Chief Curry that the President had been hit. And then he instructed us over the air to take him to Parkland Hospital and that Parkland was standing by.”

* Bobby Hargis (motorcycle patrolman on left rear of the Presidential limousine): “The motorcycle officer on the right side of the car was Jim Chaney. He immediately went forward and announced to the Chief that the President had been shot.”

* Winston Lawson (Secret Service Agent in the lead car in front of the Presidential limousine): “A motorcycle escort officer pulled along side our Lead Car and said the President had been shot. Chief Curry gave a signal over the radio for police to converge on the area of the incident.”

* Forrest Sorrels (Secret Service Agent in the lead car in front of the Presidential limousine): “A motorcycle patrolman pulled up alongside of the car and Chief Curry yelled, ‘Is anybody hurt?’, to which the officer responded in the affirmative.”

* Chief Jesse Curry (in the lead car in front of the Presidential limousine): “. . . about this time a motorcycle officer, I believe it was Officer Chaney, rode up beside us and I asked if something happened back there and he said, ‘Yes,’ and I said ‘Has somebody been shot?” And he said, ‘I think so.’”

And, of course, as even Bill Kelly must know, the Zapruder film shows a bulging out of brains to the right front -- called the "blob" -- which extends from frame 313 to around frame 340 But the medical evidence, including the McClelland diagram in Tink's book on page 107 and the testimony by Officer Hargis, which he quotes on page 100, indicate that the blow out was to the left and rear. Does that cause you any concern that the medical evidence contradicts what is seen in the film? And, by the way, if you look at frame 374, you can actually see the massive defect at the back of his head and the skull flap extending from his cranium. Even if we leave Mary and Jean as "frozen turkeys" on the grass, the gross inconsistency between the medical evidence and the film demonstrates by itself that the film has been falsified.

Moreover, as Doug Horne explains on page 1352, he made preliminary contact by email with Sydney Wilkinson, an accomplished professional in film and video post-production in Hollywood, who had decades of experience dealing with editors, experts in film restoration, and film studio executives. Through her, he arranged to have a 6k (6,000 pixels per frame) version of the Zapruder film viewed by Ned Price, an accomplished film restoration specialist with 24 years experience restoring films from 1919 to the present, Paul Rutan, Jr., the President and CEO of a Hollywood film restoration company, and an independent film editor with about three decades of practical experience, whom he does not name. As Doug reports on page 1361, when they viewed frames 313 through 323, Price, who is the head of a restoration at a major Hollywood film studio, said, "Oh, that's horrible, that's just terrible! That's such a bad fake." And Rutan observed, "We are not looking at opticals: we are looking at artwork", meaning that they were looking at effects that were actually painted onto the original film frames. This is a simple and obvious proof involving direct perception.

What they discovered was that the massive blow-out to the back of the head (which you can see for yourself in frame 374) had been painted over in black and that the "blob" and the blood spray had been painted in. They therefore agreed with Roderick Ryan, who told Noel Twyman, BLOODY TREASON (1997), the same thing, which you can read for yourself on pages 159 and 160. Ryan, by the way, received the Academy Award for his important contributions to special-effects cinematography in 2000. While Doug says this is not yet "scientific proof" of alteration, he was mistaken in saying that. Observation, measurement, and experiment are fundamental to scientific inquiries. By creating a 6k version of the film and inviting experts to observe it, he was conducting an experiment with trained observers and soliciting their professional judgment. By comparing those frames with frame 374, for example, the deception is apparent based upon comparisons of the frames themselves. And the experiment has been replicated, where now at least eight Hollywood experts concur.

Since Doug has also established that two versions of the fim were brought to the NPIC on successive evenings -- the first on Saturday, 23 November 1963, which was an 8mm version, where they actually had to go out and buy an 8mm film projector in order to view it; the second, on Sunday, 24 November 1063. which was an unslit 16mm version, the custodian of which said had been brought from Kodak's Headquarters in Rochester, NY -- nothing remains of the chain of custody argument, which even Bill Kelly should be able to grasp. When Homer McMahon studied the first film, he concluded that there had been between six and eight impacts on occupants of the limo from at least three directions, which accords well with four to JFK and as many as three to Connally, since four plus three equals seven, a number between six and eight. But after the second film was produced, the official account became three hits from above and behind, where Homer's work was discarded. You can read about this in INSIDE THE AARB or in the second of his chapters in MURDER (2000), which is entitled "Interviews with Former NIPC Employees: The Zapruder Film in November 1963".

The current state of research leaves no latitude for fatuous claims about an unbroken chain of custody, which is even more indefensible today than it has been in the past. We are dealing with history, not fantasy, and if Bill Kelly and Josiah Thompson want to indulge their infantile mind sets, they should find a forum that is more tolerant of fairy tales.

Classic, Jim. In your zeal to shut down all debate about the obviously debatable question of whether or not the film is a forgery, you have attacked Bill Kelly, one of the biggest supporters of Horne's work, and someone who apparently believes the film is a forgery.

By pointing out that the Sixth Floor's history of the film leaves out Hawkeye Works etc, he was calling the Sixth Floor's history into question, not that the film went to Hawkeye Works.

Am I wrong, Bill?

Edited January 10, 2010 by James H. Fetzer

[Peter McGuire]

This is incredible. Jim Fetzer post a fairly comprehensive list of the most egregious

indications of alteration/fakery of the Z film, yet NOT A PERSON COMMENTS OR

DISCUSSES THE LIST OF EVIDENCE but all go off in tangents attacking Jim and

other irrelevancies.

It is obvious that everyone has OTHER INTERESTS AND AGENDAS instead of

a discussion of evidence. Incredible.

Incredible.

Jack

This forum has been overrun by those who desperately need to confuse the public at large about the assassination of John Fitzgerald Kennedy, for if they do not, the truth would be so easy to see.

Your great research Mr. White, as well as Dr. Fetzer and Vince Palmaras, among others who frequent this board, have made a prima facie case for Secret Service involvement, Z film and backyard photo alteration, and have disproven the silly bullet theory and made a general mockery of the "official story"; yet they still march on.

They do so because they have to.

The 35th President of the United States was executed in broad daylight by his own administration for reasons unknown and that truth must be buried forever.

I know one thing for sure; that there was no "Kennedy curse." Quite the opposite; the Kennedies were blessed.

The MEN Who Killed Kennedy Part 3 ( 1 of 5 )

http://www.youtube.com/watch?v=wBRDkZHrtdA

Edited January 10, 2010 by Peter McGuire

[William Kelly]

This is incredible. Jim Fetzer post a fairly comprehensive list of the most egregious

indications of alteration/fakery of the Z film, yet NOT A PERSON COMMENTS OR

DISCUSSES THE LIST OF EVIDENCE but all go off in tangents attacking Jim and

other irrelevancies.

It is obvious that everyone has OTHER INTERESTS AND AGENDAS instead of

a discussion of evidence. Incredible.

Incredible.

Jack

This forum has been overrun by those who desperately need to confuse the public at large about the assassination of John Fitzgerald Kennedy, for if they do not, the truth would be so easy to see.

Your great research Mr. White, as well as Dr. Fetzer and Vince Palmaras, among others who frequent this board, have made a prima facie case for Secret Service involvement, Z film and backyard photo alteration, and have disproven the silly bullet theory and made a general mockery of the "official story"; yet they still march on.

They do so because they have to.

The 35th President of the United States was executed in broad daylight by his own administration for reasons unknown and that truth must be buried forever.

I know one thing for sure; that there was no "Kennedy curse." Quite the opposite; the Kennedies were blessed.

The MEN Who Killed Kennedy Part 3 ( 1 of 5 )

http://www.youtube.com/watch?v=wBRDkZHrtdA

"...and that truth must be burried forever."

What's burried forever again?

I thought we knew the truth, so how is that burried?"

BK

[John Dugan]

Do the motorcycle patrolman say WHEN they went ahead of the President's car to inform Chief Curry?

Does SSA Winston Lawson ever say where the lead car was when the motorcycle cops rode up beside him?

or are there any pics that show them in Dealey, where they SHOULD be on the Z-film?