Improved Views of the Quick Forward Snap

9 December 2003

    Mr. Alexandre le Bienheureux of Brussels has provided the best graphical view of JFK's quick forward snap that I have seen so far. He has been gracious enough to allow me to post it here. He took images of frames 312 through 315 from John Masland's site (http://www.jmasland.com/z_frames.htm). To the image of a given frame he then added the images of the next frame in four 25% steps. Each transitional image appears for 1/2 second, the images of the starting and ending frames for 1 second. Here is the result. You can clearly see the head snap forward between 312 and 313. You can then see the head and body begin to lurch rearward around 315.
    I had to view this sequence many times to absorb all of its detail. Don't be surprised if you have to, as well. Good luck! This is important stuff, for it shows that the killing shot came from the rear.

    This work is also important because it allows anyone to see the reality of the forward snap, which has come under some revisionism lately from David Wimp and others. But they are wrong, as you can see for yourself here.

12 December 2003
    Here is a broader and longer view of the forward snap and the beginning of the rearward lurch, also provided by Alexandre. He used better images for this work. The sequence starts at 311 and continues through 317. View it repeatedly, and you will see not only JFK's motions, but the lack of corresponding motions by any of the other passengers. This gives the lie to ideas that an deceleration of the car caused any of the motionsit didn't happen that way.
    I also think I see a quick little rearward snap in 314 (sort of a "pop-back") right after the forward snap. If so, it would likely be a visible manifestation of the jet effect. Comments by viewers would be appreciated.

311–317

    Alexandre has also provided separate small-scale animations for 311316, 312–313, 313–314, and 314–315. I encourage anyone who wants to focus on details (where the Devil is in this case) to study these little sequences. To my eye, they show even more strongly the snap in 313, a little pop-back at 314, and the beginning of the big lurch in 315.

311316

312–313

313–314

314–315

 

Back to Zapruder Film