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Recently, I have discussed numerically consecutive frames of the Zapruder film that show considerable movements of arms without the expected motion blurs. I attributed these discrepancies to tampering with the film. The defenders of the Zapruder film responded in an unexpected manner. Instead of hearing far-fetched excuses for the contents of the film, they launched shrill attacks that escalated into obnoxious tirades. These tactics show that the defenders of the film fear an understanding motion blurs. I warn the shrills that the following rewording my earlier arguments may cause motion sickness. Z-224 shows a spectator on the north peristyle with his arm raised sixty degrees from the apparent position of that arm on Z-223. These frames portend that the arm rotated through an angle of sixty degrees in one-eighteenth of a second without producing the expected motion blur.  By contrast the clapping hands of a spectator on the north infield grass that moved a few inches as opposed to a couple of feet show motion blurs on Z-223 and Z-224. The absence of motion blurs of the arm on Z-223 and Z-224 required that the arm accelerated after exposure of Z-223, reached a maximum angular speed and decelerated to near rest prior to exposure of Z-224. I contend that these motions in the 1/36 second between exposures are humanly impossible and constitute proof of tampering with the Zapruder film. Similar problems arise from the positions of Toni Foster's arm on numerically consecutive frames.  Z-317 shows the forearm of Toni Foster resting horizontally across her mid section while Z-318 shows the arm with practically the same shape and size as on Z-317 yet rotated by approximately thirty degrees. The absence of a motion blur demanded that the forearm accelerated from rotational rest, reached a maximum angular speed then decelerated to rotational rest during the 1/36 second interval between the two exposures. These humanly impossible motions expose the images of Toni Foster on Z-317 and Z-318 as not chronologically ordered.
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