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Frame 313. The frame that gave Abraham Zapruder nightmares, the frame he insisted be withheld from the public—a single frame of film that can be said to have changed American history and...
Nov 18, 2016 · Zapruder Frame 313: The JFK Assassination | 100 Photos | TIME. Still by still, Abraham Zapruder's home movie showed the world the assassination of President Kennedy, but the most infamous...
Dec 5, 2016 · But it may be more important to see what actually happens at the moment of the bullet impact. I have isolated frames 312 and 313 of the Zapruder film which are the frames that capture the...
Mr. Groden is considered an authority on the Zapruder film, yet the autopsy photo in question (HSCA F 48), that he claims is forged, shows a wound very similar in size and location to the one seen in frames Z 313 onwards.
A civilian bystander, Mr. Abraham Zapruder, filmed the motorcade with a 8-mm home movie camera as it drove through Dealey Plaza, inadvertently recording an ≈8 second sequence of events that ...
The photographic material delivered by the SCA included: (1) a 16 mm copy of the Zapruder film, (2) enlarged prints of selected frames of the Zapruder film, (3) prints of selected frames from the Nix film, and (4) a 1:120-scale map of the Dealey Plaza area.
Nov 15, 2013 · Here’s the clearest view yet, a new motion-stabilized and panoramic version of the Zapruder film. This version takes the original 18 frame-per-second film and interpolates it to 30 frames per second.
Mar 6, 2017 · TIME 100 Photos: The Story Behind the Zapruder Frame 313 of the Kennedy Assassination
Frame 313 of the film captures the fatal shot to the President's head. After claiming to have a nightmare in which he saw a sign in Times Square, New York City, with the phrase "See the President's head explode!", Zapruder insisted that frame 313 be excluded from publication.
On November 23, Zapruder sold his film and copy to “Life” magazine, with the provision that frame 313, showing the fatal impact wound, would not be published. Individual frames from the film were published in black-and-white in the November 29 issue of “Life,” and in color in subsequent issues.
