I Was There As the Sound of Shots Split The
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11[22[63 See Confused Story by James W. Altgens. AP 11[22[63
Witnesses 11[22[63 See confused story by James W. Altgens. AP 11[22[63 Pierce Allman, Dallas television executive, gives description of shooting a few hours after assassination; says President Kennedy hit first and third shots, Connally by second. For description of assassination by others, [Bill Burkett; Mrs. John Connally; Jean Hill; Senator Ralph Yarborough; Aubrey Mike; Vic Robertson.] and also of Tippit shooting by Mrs. Ann McCreavy, see record of tape filed 11[22[63. BBC tape, The Day the President Died, On tape at 250 feet. 11[22[63 Dallas - [Jack] Bell said a man and a woman were scrambling on the upper level of a walkway overlooking the underpass. AP, 12:49 p.m. CST [Bulletin matter 2nd add to original bulletin] 11[22[63 Senator Ralph Yarborough, D-TX, talking only a few minutes before [announcement of the President's death] collapsed in sobs as he told of witnessing the slaying of the President. Yarborough said he was in the third car behind the President. "It seemed to me that at least two of the shots came from our right rear," he said. "I cannot say about the third." AP, 1:37 p.m. CST. In a later story filed at 1:50 p.m. Yarborough had counted three rifle shots as the presidential limousine left downtown Dallas through a triple underpass. The shots were fired from above, -- possible from one of the bridges or from a nearby building. AP, 1:50 p.m. CST. One witness, television reporter Mal Couch, said he saw a gun emerge from an upper story of a warehouse commanding an unobstructed view of the presidential car. -
[Ron Reiland]. Important Footage Was Destroyed at That Time Since Most of the Cameramen Did Their Own Editing
7 B. Background Information on the Photographers M = motion picture P = still photograph MB = motion picture black & white PB = still photograph black & white MC = motion picture color PC = still photograph color TV = television film (A) Alexander. Steven L.: TV: Cameraman for KTAL-TV of N.B.C. of Shreveport, Louisiana. Arrival shortly after the assassination around 3:00 p.m. He was present with a camera during the transfer and shooting of Oswald. No information in government documents concerning any aspects of the film. Allen. Richard: M: Amateur's edited film was incorporated into President Kennedy's Final Hour. Allen. William: PB: Dallas Times Herald photographer who snapped 73 exposures of Dealey Plaza. The series includes the inside of the TSBD: witnesses and the three tramps taken into custody for questioning. Altgens. James: PB: Associated Press photographer who snapped 30 photographs, eight at the time of the critical moment. One photograph taken shows Kennedy grasping his throat with a figure, believed to be Oswald, on the footsteps of the TSBD. This photograph was a subject of intense discussion among researchers and government officials. The Warren Commission never used a complete photograph of Altgens' frame #6 for an exhibit. The camera used was a Nikkorex 35 mm camera with a 105 mm telephoto lens loaded with Tri-X film. Alyea. Thomas: TV: WFAA-TV photographer of A.B.C. who was one of the two photographers inside the TSBD 6th floor following the assassination. Footage includes the Plaza/knoll area from Houston on Main Street, the outside of the TSBD, the police searching for the murder weapon, discovery of the weapon, and Lt. -
Sniper's Nest
Summary ......................................................................... 2 INTRODUCTION ............................................................. 2 INCARNATIONS ............................................................. 3 Late-afternoon “sniper’s nest” ........................................ 3 Official “sniper’s nest” .................................................... 4 Actual “sniper’s nest” ..................................................... 8 IMPLICATIONS ............................................................. 12 Sniper position ............................................................. 12 Cartridge cases—the broken chain of evidence .......... 14 SYNTHESIS .................................................................. 18 Were shots fired from the “sniper’s nest”? ................... 19 Notes ............................................................................. 21 APPENDIX .................................................................... 22 Methods for constructing the sketches ........................ 22 The “Sniper’s Nest”: Incarnations and Implications Originally published in JFK/Deep Politics Quarterly, October 2003 http://www.manuscriptservice.com/DPQ Summary: None of the extant photographs taken at the southeast window of the sixth floor of the Texas School Book Depository correctly portrays the “scene of the crime” at the time of the assassination of President Kennedy. Deconstructions and reconstructions, and their implications, are discussed with special reference to the recollections -
Crafting the JFK Legend: How the Kennedy Story Is Constructed and Retold
Copyright: The author, Dwynwen Anne Thomas, 2020. Crafting the JFK legend: How the Kennedy story is constructed and retold Dwynwen Anne Thomas Submitted to Swansea University in fulfilment of the requirements for the Degree of Doctor of Philosophy Swansea University 2020 1 Abstract: This thesis explores how the ambivalently multifarious Kennedy ‘stories’ of JFK as Icon or Myth are constructed and how its ‘telling’ has been profoundly influenced by authorial intent. In contrast with much of the Kennedy literature, that often blurs the two, the thesis therefore works with a strong distinction between ‘Icon’ as having wholly positive connotations and ‘Myth’ as a narrative which either falsifies or negatively debunks any pre-existing positive accounts of its subject matter. My focus on newspaper articles, in particular from The New York Times and The Dallas Morning News, arises from the familiarly powerful claim that journalists write ‘the first draft of history’, although the thesis also reaches beyond journalism. Crucial to the argument is E. H. Carr’s historiography and its contention that historical facts are selected and presented according to particular hypotheses utilized by historians of any stripe for their own particular purposes. The thesis uses J. L. Austin’s theory of speech acts to demonstrate how the telling of the Kennedy story has variously employed techniques not only supposedly just to describe his legacy (the locutionary speech act) but also a) to create a legacy (the illocutionary speech act) and b) to influence audience attitudes toward the legacy (the perlocutionary speech act). The malleability of the Kennedy story helps to explain the reason why there remains so many attempts to retell it.