Doug Hornes Inside the Assassination Records Review Board (IARRB) is the most important book to be published on the assassination of President Kennedy in decades, not only because it changes the way we look at that murder, but in showing how the remaining issues can be resolved by determining the truth.
All the debates end here, and the arguments are replaced with questions that were posed but not answered when the Assassination Records Review Board was alive and ostensibly overseeing the declassification and release of the government's JFK assassination records. Many of the questions weren't even asked because the ARRB failed to fully use its power to subpoena witnesses and take the sworn testimony of witness.
As Horne, the chief analyst for military records explains, "While the Review Board had the power to subpoena witnesses and grant immunity, the subpoena power was used sparingly (with a limited number of medical and CIA witnesses), and the immunity power was never exercised.
Chapter 14 of this Volume - The Zapruder Film Mystery, is sure to be one of the most significant and controversial chapters, and there are others.
After the ARRB held one of its few, if only public hearings, on the Zapurder film, which was carried on C-Span, two former CIA officers came forward and reported how they made enlargements from the original film of the assassination, and a former head of the CIA's photo department was intensely interviewed on the record by a researcher.
Together, these interviews indicate that two different films were used when making enlargements, the second version having been developed at a top secret Kodak processing plant at the Rochester, New York HQ called Hawk Eye Works.
While even this name was classified, and Doug Horne couldn't use it or say it because of his security oath, others have published the name and he can now refer to it.
Although there isn't much on the Hawk Eye Works available yet, it's clear that it was named after Kodak's Brownie Hawkeye camera, but was actually a Top Secret lab used - in 1963 - to develop the film from the first CORONA satellite photos, and Kodak later became one of the top three defense contractors involved in the supersecret NRO, who used Collins Radio as a cover when building their new headquarters in Virginia.
While Doug's chapter (#14) on the Z-film is nearly 200 pages long, it also includes examples of alteration that haven't been seen before - as revealed in new, single frame, Z-film enlargements provided by forum member Sydney Wilkenson, who works on Hollywood movies.
She also arranged for some Hollywood special effects professionals to review the Z-film and show how and where it was tampered with, and maybe figure out why.
Although it will take some time to wade through five volumes of intense analysis of the medical evidence and the cold war setting that framed the assassination, the first volume now available Volume IV - is a good one to start with, especially for its complete rundown on the Zapruder film.
Just when you think you've heard everything, you learn something new.
as with the recognition that they used two different brains in writing the autopsy report(s), its now clear that they also controlled the Zapruder film from early on, and that even though copies were made, they were all controlled, and the chain of evidence was broken.
This is proven by the reports of three CIA officers who made enlargements of different versions of the original film at different times at the NPIC in DC, clearly describing different films, both said to be originals.
In retrospect, if they have the kill the President, frame the patsy and control the autopsy, they certainly had the ability to control and alter other evidence as well, including the Z-film.
Now without further debate over whether Mooreman was in the street or if leaves are real, I'd like Tink and others to read the relevant chapter in Vol. IV. IARRB and let us know if the loss of the true provenance of the Z-film has an effect on the value of the evidence?
Without regard to what's on the film, can it now be accepted that the Z-film we now have at the Archives, and pay copyright for use to the Sixth Floor Museum, is not the unedited, unaltered movie that Zapruder filmed?
I understand that it will take awhile for the details of this book to circulate, and for people to buy and read, but I think its important that we all do read it and consider the implications.
Bill Kelly
http://jfkcountercoup.blogspot.com/
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