Wednesday, August 9, 2017

Let's take a closer look at the Newsreel.

It shows two renderings of the Oswald shooting; the first being the NBC footage. In that one, you can see the weird "hand in the pants".

It's pretty ridiculous because forearms can't do that, bend like that. 

Now, here's the other one:

There is no hand in the pants. We can see where Leavelle's left shoulder is, and from seeing it, there is no way he could have his hand in Oswald's pants.

That's a successive frame. Again notice where Leavelle's left shoulder is. It is behind Oswald. He does NOT have his hand in Oswald's pants. Notice that in both frames, you can faintly see Grave's hand grasping Oswald's left arm. Next, the shooter comes in. 

Presumably, that is right before the blast because Oswald is not reacting. But, notice how obvious it is that Oswald and Graves are just ignoring Bookhout. How could they not see him? 

Next, we get to the last frame in the running film, which is very dark. 

This frame above is the one that precedes the Jackson lookalike frame. Note that it must be after the shot and not before it because Oswald is reacting; he is recoiling, and he definitely didn't do that before he was shot. Then, here is the Jackson lookalike frame:

It isn't exactly the same as Jackson, but it's close. The freaky hand slapped to the chest is there, and it's freaky alright, but in a different way than it is in Jackson.

This collage below shows the transition, or I should say the jump, from the running film to the Jackson lookalike still frame: 

How could all that change occur in 1/18 second? And what explains the difference in lighting? In the Newsreel, these two frames occur within a split-second of each other. They are both earmarked at 41 seconds in the film. But, look at all the change that occurred in that split-second. Oswald has slapped his left arm to his chest and thrust his right arm forward. And now, Leavelle's forearm is coming over to sink his hand in Oswald's pants. And notice that the perspective is different. We don't see Blackie Harrison at all in the top frame. Yet, how can the perspective be different when it's supposed to be all the same film shot by the same guy from the same spot? There is a lot of "jump" there. What would cause the lighting to suddenly brighten if it's all one film? The idea that those two frames are continuous and successive and even from the same film is preposterous. 

They are NOT continuous. The Jackson lookalike frame was just tacked onto the film at that point: as a still image. And then, it was done; over; finished; no more film. They could not go back to it. This is just more film fakery. 

I've been saying for a long time that the JFK assassination is the most photographically altered event of all time, and it is. And, nothing comes close to it. Nothing comes anywhere near it. It stands alone as the pinnacle of photographic manipulation, photographic lying, and photographic evil. 

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