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This is the true story of a little piece of 8mm film made in 1963 when President John F. Kennedy visited Dallas, Texas. Abraham Zapruder's 26-second home movie captured in horrific clarity the public murder of the President His six-foot long filmstrip soon became one of the most monetarily valuable artifacts in world history, and arguably "the most historic film ever shot." Zapruder's film and its subsequent study and interpretation by government investigations, the mass media and thousands of assassination buffs, is a controversial and convoluted tale. Richard Trask puts the film's significance into a readable context and displays how this small slice of historic reality has become the image by which the Kennedy assassination will forever be remembered..
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Perhaps no greater debate has raged in the history of the study of the death of JFK than over the authenticity of a 27-second home movie of the assassination, known as "the Zapruder film". This footage has been described as "the most significant amateur recording of a news event in history". It is surely one of the most controversial. Some students of the crime take it as the absolute foundation for understanding what actually transpired. Others are not so sure.

This book brings together leading experts on the film, including Jack White, the legendary photoanalyst; David Healy, an expert on film production and post-production; John Costella, Ph.D., a physicist with specialization in light and the properties of moving objects; David W. Mantik, M.D., Ph.D., the leading expert on the medical evidence and another authority on the film; David Lifton, a noted student of the assassination and author of BEST EVIDENCE; and James H. Fetzer, Ph.D., a professor of logic, critical thinking, and scientific reasoning.

The evidence that is presented in this volume provides proof that the film has not simply been edited by removing a few frames or by altering the contents of specific sequences (which has indeed been done in this instance) but that the whole film has been created by the use of sophisticated techniques relying upon optical printing and special effects, whereby any foreground can be merged with any background, any specific unwanted events can be removed and any wanted events can be introduced.

The Preface begins by dismantling the arguments of proponents of the film's authenticity, especially Josiah Thompson, who authored a work, SIX SECONDS IN DALLAS (1967), based upon the presumption that the film is authentic. Thompson has argued that the chronology of the film's possession precluded its alteration; that the publication of frames in LIFE magazine's issue of 29 November 1963 made it very difficult to fake; and that the synchronicity of the film relative to other photographs and films disproves it.

But a more complete version of the film was in the hands of the National Photographic Interpretation Center (NPIC) run by the CIA already Friday night, where Homer McMahon watched it more than 10 times and observed the impact of six to eight shots fired from at least three directions. If there were copies around other than the official "original", then his chronology does not track them. The frames that appeared in LIFE were few in number (31 out of 486) and poor in quality, excluding the most crucial sequences. And the recreated Zapruder film may have been used as a guide for changing other photographs and films.

So it appears to have happened the other way around. Indeed, the evidence amassed here includes the unresponsive spectators, an impossible frame 232, inconsistencies with the Stemmons Freeway sign, differences in lamppost verticality between the film and DPD photographs, the missing limousine stop, the Greer backward head-turn in frames 302-303, the disappearning blood spray in frames 313-314, the "blob" of gushing brains, the Greer forward head-turn in frames 315-317, the absence of tissue debris on the limousine trunk, and the missing Connally left-turn.

That the film has been fabricated is established beyond reasonable doubt on the basis of internal anomalies, physical impossibilities, eyewitness testimony, and other forms of proof. In conjunction with other available evidence, however, authentic features of this film can be identified, including frame 225, which shows a hole in the windshield; frames 313-316, which show the motion of the President's body (back and to the left); frame 330, which displays a "solar flare" from a shot that hit the chrome strip; and frame 374, which shows a blow-out to the back of the President's head.

Frame 313 requires extensive consideration insofar as it may have been fabricated by merging two shots--one from behind, the other from in front--to reduce the number and conceal the origin of impacts on JFK. There is ample evidence that the driver brought the limousine to a halt, that the President was hit in the head from the rear and fell forward, then was hit again from the front after Jackie had eased him upright, which may be the most complex deception in the history of the case.

This volume emerged from The Zapruder Film Symposium, which was organized and moderated by James H. Fetzer on the Duluth Campus of the University of Minnesota, 9-11 May 2003, and may well prove to have been among the most important conferences in the history of the study of the death of JFK. Certainly, the discoveries reported here remove any question about the film's authenticity and reveal the lengths to which the conspirators were willing to go to cover up the true cause of death of John Fitzgerald Kennedy..
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This is a stirring collection of diaries written by young people, ages 12 to 22, during the Holocaust Some of the writers were refugees, others were hiding or passing as non-Jews, some were imprisoned in ghettos, and nearly all perished before liberation..
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"Zapruder's hip lyricism offers both the slippery comedy and a surprisingly grave, ultimately winning, commitment to real people, emotions, locales "-Publishers Weekly

Matthew Zapruder is a young poet reinvigorating American letters. In his second collection he engages love, mortality, and life in New York City after 9/11. The title piece, a prose-poem synopsis of an unwritten novel, turns all literary forms upon themselves with savvy and flair, while the elegy cycle "Twenty Poems for Noelle" is a compassionate song for a suffering friend.

Noelle, somewhere in an apartment
symphony number two
listens to you breathing.
Broken glass in the street.
What was once unglowing glows. . .

The Pajamaist is an intimate book filled with sly wit and an ever-present, infectious openness to amazement. Zapruder's poems are urbane and constantly, curiously searching.

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This book blows the most famous film in history - the Zapruder film - sky high. It will never be the same. Harrison Livingston's twenty-year investigation of the film is massive, and it exposes the extensive fraud and trickery connected to the film, as well as what is wrong with it and the 1997-8 inquiry into it..
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It is the most famous home movie of all time, the most closely analyzed 26 seconds of film ever shot, the most disturbing visual record of what many have called "the crime of the century "

In 486 frames--a mere six feet of celluloid--Abraham Zapruder's iconic film captures from beginning to end the murder of President John F. Kennedy in broad daylight. The film has become nearly synonymous with the assassination itself and has generated decades of debate among conspiracy theorists and defenders of the Warren Commission's official report. Until now, however, no scholar has produced a comprehensive book-length study of the film and its relation to the tragic events of November 22, 1963.

David Wrone, one of our nation's foremost authorities on the assassination, re-examines Zapruder's film with a fresh eye and a deep knowledge of the forensic evidence. He traces the film's forty-year history from its creation on the "grassy knoll" by Dallas dressmaker Zapruder through its initial sale to Life magazine, analysis by the Warren Commission and countless assassination researchers, licensing by the Zapruder family, legal battles over bootleg copies, and sale to the federal government for sixteen million dollars.

Wrone's major contribution, however, is to demonstrate how the film itself necessarily refutes the Warren Commission's lone-gunman and single-bullet theories. The film, he notes, provides a scientifically precise timeline of events, as well as crucial clues regarding the timing, number, origins, and impact of the shots fired that day. Analyzing it frame-by-frame in relation to other evidence--including two key photos by Phil Willis and Ike Altgens--he builds a convincing case against the official findings.

Without fanfare, he concludes that more than three gunshots were fired from more than one direction and that most likely none were fired by alleged assassin Lee Harvey Oswald. If true, then JFK's death was the result of a conspiracy, for the Commission's nonconspiracy conclusion requires a maximum of three shots and one gunman.

Wrone, however, does not speculate as to who actually shot JFK or why--or even if Oswald was involved. In fact, he is just as critical of the legion of conspiracy theorists as he is of the Warren Commission (which, he reveals, crushed dissent within its own ranks).

Doggedly pursuing the evidence wherever it leads, Wrone has produced a meticulous, clear-eyed, and provocative new reading of this remarkable cinematic Rosetta Stone..
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From rough optimism to sharp criticism, fifty American poets present new work dissecting the current political climate in America. Wide-ranging writers bring their bold voices to this collection, including Eileen Myles, Matthew Rohrer, Rebecca Wolff, Terrance Hayes, Joe Wenderoth, and Tao Lin.

"Walking by Hope Street"

Look at the landscape,
A lot of damage, no?
But we are here together,
And of needing me, here
The world needs me,
We are too alone.
And what of our orange daylight,
Growing darker as the lamplit
Trees grow dark. There
Is not enough to say.
But our hands, our gentle
Frozen hands sift through
Things like numbers out of breath.
It will all be okay, I promise.
Promise who? Promise the faded land.
-Noelle Kocot

"Literary Agency"

Coretta Scott
King has died, the other
day. Dream
unrealized. Lost
and found, lost again, bathos
my motivation
my Elysian
dream. The place
inside
untutored, incorruptible,
without relation. That's
something to hold onto,
and uncontingency
dressing the wound. That's
sad and just "what it is."
It is what it is.
That's what I say
when I can't bear the news.
-Rebecca Wolff.
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