The Great Zapruder Film Hoax

出版者:Transition Vendor

作者:Fetzer, Ph.D. James H. 编

页数:480

出版时间:2003-9

价格:$ 27.95

装帧:Pap

isbn号码:9780812695472

具体描述

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.

用户评价

这部作品初读之下，便能感受到一种扑面而来的历史厚重感，仿佛作者深谙每一个时代转折点的微妙之处。叙事节奏的处理堪称一绝，时而如涓涓细流，娓娓道来那些被时间磨平棱角的往事；时而又如同山洪暴发，在关键的冲突点上给予读者强烈的冲击力。我尤其欣赏作者在人物塑造上的细腻笔触，那些主要角色的内心挣扎、道德困境，都被刻画得入木三分，让人不由自主地代入其中，思考在特定历史背景下，自己会做出何种抉择。书中的场景描绘极具画面感，无论是宏大的战争场面还是私密的家庭场景，都仿佛触手可及，让人沉浸其中，难以自拔。更难得的是，作者似乎总能从看似寻常的事件中，挖掘出更深层次的社会肌理和人性本质，使得整部作品在娱乐之余，更具启迪意义。读完合上书本，那种挥之不去的思索感，便是这部作品最成功的证明。

初翻开这本书时，我内心其实是有些抗拒的，因为我总觉得这类“大部头”的作品，在后半段容易出现后继乏力的情况。但这次我的担忧完全是多余的。作者仿佛有一个用之不竭的灵感泉源，后劲十足。随着情节的深入，那些最初埋下的伏笔，开始以一种令人拍案叫绝的方式一一回收，而且回收的方式绝非简单的线索串联，而是以一种更高维度的意义升华。我特别留意了作者对环境氛围的营造，无论是战争年代的压抑，还是革命前夜的躁动，那种情绪的渲染力极强，让人感觉自己就是身处那个特定的历史时空之中。阅读过程中，我频繁地停下来，回味那些精妙的对话，它们不仅仅是推动情节的工具，更是角色性格和思想冲突的集中体现。这种高密度的信息和情感输出，使得阅读体验变得极为充实和有价值。

如果要用一个词来形容我的阅读感受，那便是“酣畅淋漓”。这不是那种轻松愉快的阅读体验，而更像是一场智力与情感的马拉松。作者似乎并不满足于讲述一个故事，他更热衷于解构一个时代，剖析权力运作的机制，以及个体在巨大历史洪流面前的无力和反抗。书中的某些篇章，尤其是在探讨社会结构和意识形态冲突的部分，其分析的深度和批判性，简直可以媲美专业的历史研究著作，但它又奇妙地被包裹在了引人入胜的小说叙事之中。对于喜欢深度思考的读者来说，这本书简直是一个宝藏。我甚至需要时不时地停下来，在笔记本上记录下一些关键的观点，因为这些思考的火花一旦错过，可能就难以在后续的阅读中重现。它成功地做到了寓教于乐的最高境界。

这部作品的结构设计是极其大胆且充满野心的。它拒绝平铺直叙，而是采用了碎片化的、非线性的手法来拼凑一个宏大的历史图景。一开始，我确实需要花费一些额外的精力来适应这种叙事节奏，感觉自己像是在玩一个复杂的拼图游戏，每一个章节都是一块形状奇特的碎片，直到阅读到中段，那些看似无关紧要的细节，才猛然间连接起来，形成了一幅清晰而震撼的画面。作者在语言运用上的变化多端，也值得称道——时而使用简洁、直白的如同新闻报道的笔法来记录客观事实，时而又切换到充满象征意义和隐喻的抒情笔调来表达人物的内心世界。这种风格上的自由切换，极大地丰富了作品的质感，也避免了单一风格带来的审美疲劳。总而言之，这是一部需要用心去“解码”的杰作，它给予读者的回报，远远超出了投入的时间和精力。

坦白说，我对这种宏大叙事的手法一向抱持着审慎的态度，因为它们往往容易在追求广度时牺牲深度。然而，这部小说成功地打破了我的固有印象。作者巧妙地运用了多重视角叙事，如同一个技艺高超的魔术师，不断地在不同的时间线和人物心境之间进行跳转，却始终保持着故事的清晰度和逻辑的严密性。这种叙事上的复杂性，非但没有造成阅读障碍，反而构建了一个更为立体和多维的世界观。它挑战了我们对于“真相”的传统认知，迫使读者去质疑那些被既定历史书写所固化的叙事框架。文风上，它糅合了古典文学的典雅与现代派小说的锐利，句式长短错落有致，用词精准而富有张力，尤其是一些哲思性的段落，读来令人拍案叫绝，仿佛作者是借由文字，与历史进行了一场深刻的对话。