1. Here's frames Z314 and Z315, where is the back of head wound and the resulting external expulsion that you say covered more than a dozen surfaces?
Here again we see that you're reading has been one-sided and insufficient. The whole point is that several witnesses saw blood and brain blown backward, and we know that blood and brain were blown onto at least 16 surfaces, as I've documented.
When are you going to explain the presence of so much blood and brain on the follow-up car's hood and windshield, on Kinney's clothes (in the follow-up car), and on the windshields and clothes of the two left-trailing patrolmen? When are you going to explain why the Zapruder film does not show any blood and brain being blown backward, and does not even show a cloud of blood and brain into which the follow-up car and the two trailing patrolmen could have driven (since the particulate spray disappears in no more than 1/6th of a second)?
1a. Because the frontal explosion is as clear as the nose on your face!
Uhhh, nobody denies that the film shows an explosion in the frontal area of the head. You have a habit of pretending to make points when no one has disputed the point you're making.
2. Why didn't the first interviewed eyewitnesses from Dealey Plaza who were on camera within an hour or two, see your back of head injury and/or resulting explosion?
LOL! I guess you forgot about the Parkland operative and admission reports written soon after JFK died that day that mention a right-rear head wound? I guess you forgot about Malcolm Kilduff's nationally televised press conference held shortly after JFK died that day in which he demonstrated, based on what Dr. Burkley had just told him, that the bullet hit the right temple? I guess you forgot about the several 11/22/63 news accounts of a bullet hitting the right temple?
When are you going to explain the fact that the Parkland nurses who cleaned JFK's head and packed the large wound with gauze said the wound was in the back of the head? When are you going to explain the fact that Agent Clint Hill, after seeing the wound three times that day (including for several minutes from 2-3 feet away on the back of the limo en route to Parkland), said the wound was in the right-rear part of the head? When are you going to explain the fact that all three of the morticians who were involved with reassembling JFK's skull after the autopsy said there was a large wound in the back of the head? When? Why do you keep ducking this evidence?
3. You say the head mist disappeared too quickly, but this GIF shows a deer head wound with a similar dissipation of fine particulate matter.
That's a joke, right?
4. You seem to think that the back and to the left was caused by a bullet? For a start an 11 gram bullet lacks the kinetic energy to move a human anymore than an inch or two and secondly the empirical proof is in the following WW2 footage, these men were struck in the head with a FMJ bullet and no one falls forward like a Hollywood movie and instead, all fall back towards the origin of the bullet.
Yikes, here too, you are at least 20 years behind the information curve. Are you ever going to bother to actually read serious research that challenges what you so desperately want to believe?
If JFK's head was hit by an FMJ bullet, how do you explain the two back-of-head bullet fragments when no FMJ bullet in the known history of forensic science has deposited a single fragment, much less two fragments, on the outer table or in the scalp when entering the skull?You just go around and around and around by offering nothing but your tired, debunked lone-gunman assumptions, the same nonsense that your predecessors were peddling in the '60s and '70s.
The muscles in the back are stronger than the muscles in the front, so therefore the head moved backward.
Dr Charles Petty
Really?! Oh, boy. How do you explain the wound ballistics tests where the skulls were blown backward when struck from the front? For example, during three separate rounds of testing, Alvarez had his rifleman fire into taped and untaped green and white melons of varying sizes, coconuts filled with Jell-O, one-gallon plastic jugs filled with Jell-O and water, an eleven-pound watermelon, taped and untapped pineapples, plastic bottles filled with water, and rubber balls filled with gelatin.
The majority of these items were blown downrange. Only after Alvarez reduced the size of his melons from ones weighing 4 to 7 pounds to ones weighing just 1.1 to 3.5 pounds did he get six out of seven melons to exhibit some retrograde motion.
Why does JFK's head move forward 6.44 inches in Z327-330? This is a faster movement than the Z313-320 backward movement! By your anti-scientific logic, this means a bullet hit him from the front! Is it just a coincidence that the DPD dictabelt recording has a gunshot impulse at right around Z327? (And why does the head wound look significantly different in Z337 than it does in Z313?)
5. The Jet effect is a demonstrably repeatable event.
More comedy based on your lack of research. Sheesh, your side's best wound ballistics expert, Dr. Sturdivan, admitted years ago that the jet-effect is impossible fiction in the case of the Z313 headshot. Have you read any of the refutations of the jet-effect theory written by scientists with doctorates in physics, such as those written by Dr. Art Snyder and Dr. David Mantik? No, I know you haven't.
6. I see you're still persisting with your claims of "removal of frames" without any regard for how these removed frames affect the synchronicity of the resulting altered background.
I removed 1 frame from the Zapruder Film and the lady running towards the Limo instantly shows a staccato effect, her leg unnaturally moves quickly forward and her dress flips up awkwardly. And this is only 1 isolated piece of the frame and when this is exponentially multiplied across the entirety of the frame, we have a million places where your "removal of frames" will be dramatically exposed.
As I keep telling you, if you want to remove frames you must isolate and extract the foreground elements and reinsert it into a smooth background but then you have the impossible task of aligning your matted out foreground with a continually moving backdrop and on top of that, you have constantly moving Limo occupants which is another factor which needs to be considered. And even with photoshop which can extract the individual elements, the need for feathering the outlines back into the original is another problem and then you must match the motion blur of your cut-out with the motion blur of Zapruder's wild imprecise camera movements. And cutting out foreground elements with excessive motion blur, which can't be detected at the granular level is your next impossibility. And don't forget the lining up the ghost images in the sprocket area in which every before and after frame is exposed between the sprockets.
The Zapruder film proves itself to be authentic. There is no possibility that any frames could have been cut out of the film. Every time a frame was exposed, part of the background scene was exposed onto the next frame and the previous frame in their sprocket hole areas. The ghostlike images in the sprocket hole area are double exposures. Real objects faintly visible. The cause is the particular design of the inner workings of the Bell & Howell camera. When a frame is being exposed, there is an aperture plate which covers the frames above and below the current frame so that they do not get accidentally exposed. Some 8 mm cameras leave open the sprocket hole area of the current frame, which allows information to be recorded there, but that area is normally not projected.
https://www.kenrahn.com/Marsh/Puzzle_Palace/zapruder.htm JohnM
Translation: You still have not read a single scholarly article that discusses evidence of alteration and that answers the anti-alteration arguments. Instead, you are still relying on arguments that you are copying from anti-alteration sources. Again, every single one of these objections has been answered. Did you bother to read Dr. Mantik's 42-page study on evidence of alteration that I cited in a previous reply? For your convenience, here is the link, again:
https://themantikview.org/pdf/The_Zapruder_Film_Controversy.pdfI've read the article you cited from Ken Rahn's website. I read it years ago. It was written by W. Anthony Marsh, just FYI. It's only about five pages long. Dr. Mantik's study is 42 pages long and deals with all kinds of issues that Marsh wasn't even aware of.
Here are some extracts from Dr. Mantik's 42-page paper:
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An astonishing example of such inconsistency is seen in the intersprocket image for Z-318; a good quality reproduction of this frame shows the limousine immediately behind the motorcycle, in the ghost image! According to Zavada, the ghost image in Z-318 was exposed at the same instant as the primary image of frame Z-317 (which also shows the limousine). But if Zavada is correct, then the limousine is in two different locations at the same instant! If Zavada was aware of this flagrant paradox, he failed to comment on it.
Another line of evidence is the quality of the central image in the (arbitrary) first frame compared to the ghost image in the second frame. According to Zavada, they were formed at the same instant, and should therefore display similar features.
But this is not always the case: e.g., the central image in Z-319 is obviously blurred, whereas the ghost image in Z-320 is distinctly sharper. Since both images were formed at the same instant, according to Zavada, why do they show such different tracking characteristics? Again, Zavada offered no explanation. (p. 9)
If the extant film and the two SS copies were authentic there should be no oddities in the above table. In fact, there are many, as listed here.
1. Uninterrupted (i.e., no physical or photographic splices) loading fog does not precede the motorcade segment in SS #1, SS #2, or in the extant film.
2. In SS #2, fogged film and a perforated number 0186 are both present, which would ordinarily be earmarks of authenticity. However, a photographic splice is present where none should exist. Furthermore, an image of the four-foot leader (which was attached to the original film, according to Zavada) is missing. In addition, because this is the sole, normal, fogged sequence on any of the films, another question may be raised: rather than representing an image of fog from the original film, was this fog on SS # 1 caused by light striking SS # 1 directly? If so, this fog would provide no support for authenticity at all.
3. No perforated processing number (0183, 0185, 0186, and 0187) is continuous (i.e., no intervening physical or photographic splices) with the motorcade in any of the three copies or in the extant film.
4. Although the perforated number 0186 appears at the beginning of the motorcade side, the photographic image of 0183 appears at the end of the home movie side-in SS #1, SS #2, and LMH.
5. The Zavada report states that the perforated number (e.g., 0183) omits photographic image, would ordinarily appear after the last image of the second side (the motorcade side). In fact, it appears at the end of the last image on the first side (the home movie side). (pp. 29-30)
Toni Foster's peculiar stop: Z-321 to Z-322. Foster is the pedestrian in the background grass. Her lateral separation from the adjacent (ghost) motorcycle image is constant between these two frames. Because the camera is tracking the limousine, her image should undergo a regular and steadily growing displacement from the motorcycle image. It is obvious from preceding and following frames that this is exactly what happens, but it does not happen for these two frames. It’s also apparent from nearby frames that Foster is not jumping to and fro within single frame intervals, so as to appear stationary between these two frames (1/18-second), a physical impossibility in any case.
For all nearby frames, the motorcycle, the limousine, and other objects advance uniformly across the field of view, as they should-but Foster remains quite stuck for these two frames. She retains almost exactly the same lateral position. To the tracking camera she seems to stop within 1/18-second, and then immediately to resume her regular frame-to-frame displacement within the next 1/18-second. This physical impossibility cries out for an explanation, but none has been forthcoming from devotees of authenticity(p. 32)
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It bears repeating that we've seen that you can't explain the impossible anomalies in the Zapruder film that I discuss in my article on alteration evidence, i.e., Brehm Jr.'s and Malcolm Summers' impossibly fast movements and the glaring contradiction between the Zapruder film and the Nix film regarding Jackie and Agent Hill's respective positions and locations before Jackie starts to retreat back into her seat. And your only "explanation" for the absence of a stop or marked slowdown in the Zapruder film is your fraudulent slowdown GIF--a GIF that even Dr. Alvarez's research exposes as bogus.
Finally, when are you going to deal with the subject of this thread, namely, the two back-of-head fragments seen in the autopsy skull x-rays?