Was Time-Life part of the conspiracy...?

[Jerry Organ]

Superimposition…

ALSO... you aren’t using the best image from the film that’s available...

Here’s a higher quality image... at 6:44 in The Lost Bullet

I could see the "face" in your earlier capture.

You don't notice that the left "eye" is on "Stolley's" left cheek?

You claimed this face "superimposition" was in the original Zapruder film. But it doesn't appear on any Zapruder frame. The "superimposition" was created in 2013 when a computer program haphazardly combined two sequential Zapruder frames into one to create an interpolation frame. Such blended frames are used to increase the frame count as the film speed of the Zapruder film (18 fps) differs from the HDTV film speed (greater than 18 fps).

Some people have a knack for spotting something that isn't there. Jack White was like that; he thought the baby in a picture of Marina and Lee was a doll prop. David Lifton spotted a rifleman wearing a German helmet on the knoll. Can't make this stuff up, folks.

[Jake Maxwell]

Jerry, I really don’t know what might have happened in 2013... or when the Library of Congress used the highest tech available a few years ago to digitize the film and then provided sequences for the film The Lost Bullet... in which these images appear...

What I do know with a fair amount of certainty... this image of a face that seems to be propped up with a hand, is not random... But each viewer will have to decide on that him or herself I suppose...
Is it Stolley? Don’t know... but who?

The several people I’ve shown it to, see it... I trust others will also...

[Chris Davidson]

Jake,
That's a pull-down frame from the telecining process. Look for the horizontal lines in your enlarged version.
https://en.wikipedia.org/wiki/Telecine
You can reproduce the same effect, albeit without the horizontal lines (I use Photoshop) by using the two consecutive progressive(real)frames and creating a third frame(in this example, I used a 50% transparency setting on the latter frame) and then align all three using the letter E as the alignment mark.
Yes, I see the face, but if you break down the two real frames, you can see how it appears to piece together that face.

 

[Tom Scully]

It could possibly be an image of Richard Stolley... Editor of Life magazine and the one who acquired the Zapruder Film...

Stolley had a boss, Otto Fuerbringer,

https://www.jfklibrary.org/sites/default/files/archives/JFKOH/Salinger%2C%20Pierre%20E.%20G/JFKOH-PES-01/JFKOH-PES-01-TR.pdf
Pierre E.G. Salinger Oral History Interview—JFK #1, 7/19/1965
...............................................................[-40-]
speech. He’d make sure that their lead stood up. Of course, he was a great technician in this
business in addition to understanding it. I remember one time when he practically knocked
Henry Luce [Henry R. Luce] out of his chair. Henry Luce walked in his office one day.
Kennedy said to him, “I see Otto Fuerbringer has gotten well and has gone back to work.”
Fuerbringer had been out for six weeks sick and it happened that he had come back to work
the issues before. Kennedy understood Time magazine so well. He knew Fuerbringer so well
that he hated him. He could tell the difference between Time when Fuerbringer was not there
and when he was there...

Hill School, Pottstown, PA, 1918

https://www.tor.com/2013/08/09/toby-barlow-cia-agent-babayaga/
My grandfather sits on a train, waiting. It is early spring, 1937. His name is Philip Strong and he has boarded here in the Hamburg station, preparing to head to Berlin. Although I possess a volume of his letters from this trip, letters I have read many times, I am still not exactly sure why he is here.

He is 36 years old, a U.S. Marine Reserve Captain. But as a reserve officer, he is not travelling in uniform, instead he’s wearing an old tweed jacket. He has a bulky backpack stashed on the overhead rack. In his pocket is tucked his smoking pipe along with a small pouch of his treasured Dunhill tobacco.

Beside him sits a much younger man named Leko. They are on this sightseeing trip together. By all appearances, it is nothing more than that. They stay in youth hostels and ride on many trains such as this one, sitting back in the third class smokers.

It doesn’t make actually make sense that my grandfather would be here in any official capacity. He does not speak German or Russian, only a little French and only the most rudimentary Spanish. If the army had wanted someone to observe the European situation, they probably would have sent an agent who understood at least one of the various languages.

But it also seems too odd for him to be embarking on a journey with an itinerary that will take him through such a large number of the looming conflicts’ many theaters. He will travel from Germany on to Poland, the Balkans, Russia, then down to Kabul and Tehran, driving from there over to Baghdad and Beruit before shipping off to the already jittery East.
...
What is Philip Strong doing here? Maybe it is a bit of self-motivated opportunism. Perhaps he senses history coming and is cleverly placing himself squarely in its path.

Once they arrive in Berlin, Leko will strike up an acquaintance with a fellow name Otto Fuerbringer. This Otto fellow knows Berlin well so they all start travelling around town together. Otto is a Kansas City reporter, tall and handsome, my grandfather reports, a Harvard man. One day he will become the managing editor of Time Magazine. These are the sorts of people idly wandering around Hitler’s Germany in 1937, visiting all the various art museums, gardens and zoos (“the keeper who did the animal feeding was a born comedian.”)

Five years later, my grandfather will no longer be in the reserve, he will be very active. In January of 1942, he will report to the British BOE sabotage school in Canada. Not long after that, he will develop a complete training program for his new boss, the legendary “Wild Bill” Donovan at the O.S.S. In the O.S.S. training manual, my grandfather provides this handy tip for searching a captured prisoner:

Kill him first.

Later still, he will become a part of the original core team in the Central Intelligence Agency...

[Jerry Organ]

The software used by Image Trends to create sequences for "JFK: The Lost Bullet" would sometimes introduce suggestive artifacts, noticeable when certain interpolation frames are viewed in isolation. While assisting motion-smoothness (and allowing the show to promote new "enhancements"), interpolations should not be used in research.

[Jake Maxwell]

This is an image of a face that seems to be propped up with a hand...
Whatever process was used and whoever did this, this is most likely not a random artifact... There are far too many markers that point to the image of a human face to simply say the image is random... 
Every viewer must make up one’s on mind about this...

[John Iacoletti]

The baby does look odd.

[Jake Maxwell]

Have Stolley’s and Zapruder’s backgrounds and connections been thoroughly - or sufficiently - investigated?

I think Zapruder’s film was “commissioned" for the purpose of documenting the event - and mostly to document who was on the scene likely filming or taking pictures that might reveal the actions of nefarious characters on the Grassy Knoll taking aim at our president. It is why the focus of the camera is on the bystanders and less on the president’s limousine... That seems obvious when you watch the film...

I also think the purchase of the Z. film was prearranged... so that the release to the public could be limited... items could be removed (several minutes of the film are missing, I’ve read... and perhaps specific frames in the assassination sequence removed / some damaged...)... and other items distorted and covered over with an overlay to obscure viewing certain features... The film was screened for the Secret Service the day after the assassination...

The full movie was not shown to the public until the 1970’s... not because of the graphic nature of the film... but as part of the cover-up... in my opinion...