Twenty-six Seconds

Twenty-six Seconds

A Personal History of the Zapruder Film

Book - 2016
Average Rating:
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The family story behind Abraham Zapruder's film footage of the Kennedy assassination and its lasting impact, told by Zapruder's granddaughter, draws on personal records and previously sealed archive sources to trace the film's role in the media, courts, government, and arts community.-- Adapted from book jacket
Publisher: New York : Twelve, 2016
Edition: First edition
Copyright Date: ©2016
ISBN: 9781455574810
1455574813
Branch Call Number: 973.922 Zapruder 2016
Characteristics: viii, 472 pages : chiefly colored illustrations ; 24 cm

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chaz_shel
May 17, 2017

I enjoyed reading Twenty - Six Seconds. Alexandra tells the story of the film, how it was extraordinary for the day, what a good man her grandfather was, and of the tales of the family that were the custodian of the film of the crime of the century.

The family stood with the values of Abraham Zapruder. Like it or not it was his film and his copyright.

This book has nothing to do with the question of who was the perpetrator. It just deals with the film and those affected by the film. So those who believe or not in the conspiracy theories and want more information about that will be disappointed.

It's a good story for amateur photographers just in case they might one day film an historical event.

PimaLib_NormS Feb 13, 2017

“Twenty-Six Seconds: A Personal History of the Zapruder Film” by Alexandra Zapruder can be a challenging read, because the film records the assassination of President John Kennedy. Reliving that moment in time can be difficult. But because of the historical significance of the Zapruder film, one is almost compelled to read it through to the end. The film has taken a long, strange journey. Abraham Zapruder, the author’s grandfather, was the man behind the movie camera on that sunny Dallas day. In the hours after the shooting, he wanted to get the film into the hands of the federal authorities. Surprisingly, neither the Secret Service nor the FBI took control of the film. Copies were made, but the actual film remained in his possession. Over the years, the six foot piece of celluloid became more than just a visual record of those twenty-six seconds. No one seemed to think of it at first, but, over time, it came to be regarded as an important historical artifact that should be owned by the federal government. However, the film was private property that certainly had monetary value. If the government seizes private property, lawfully the owners must receive fair compensation. But, is it morally right to profit from such a horrifying event? The Zapruder family struggled with this question, and other film related issues for decades. It fell to Alexandra Zapruder, more than 50 years after the event, to document those struggles. At times, she had to straddle a blurry line; was she writing as a Zapruder or a journalist? Both? Neither? Read this compelling book and find out.

l
looper46
Feb 01, 2017

as much as I hate to, I must agree with my old friend "StarGladiator" that she does blindly agree with the Warren Report, which I think most people generally thought was a rush to judgement hack job.

Poor Zapruder family, just a nice guy caught up in history.

d
dthomas6
Dec 29, 2016

Best part of this too-long book is the insight into what a good man Abe Zapruder was. His sensitivity and care in the guardianship of this tragic recording of history is remarkable. Everyone else tried to profit off it, but not him.

s
StarGladiator
Sep 20, 2016

[I did glean once interesting factoid from this book, when Ms. Z. mentions receiving a clip from James Moore, director of the audio-visual division at the National Archives - - circa late 1970s - - which would be when J. Walton Moore, who would later call himself James Moore, who was the CIA/Dallas agent in 1963 and knew both William Harvey, CIA/Italy chief of station, and J. Gordon Shanklin, Dallas FBI Special-Agent-in-Charge, from their days together at the FBI - - was retired from the CIA? Could J. Walton Moore and James Moore be one and the same? And shortly thereafter a series of explosions and fire would destroy millions of feet of archived film at the National Archives?]
Horrible book! Not worth the paper it was printed on, a complete waste of time, nothing learned, except the simpleton author robotically accepts everything from the Warren Report as gospel truth?!?!
Says Oswald shot Office Tippit three times - - if that was the case, where's the ballistic testing to prove it? [Never performed, and that is job one in any investigation by the police and/or FBI?!?!?!]
Says Itek Corporation tested the film - - but fails to mention that Itek was a Rockefeller company and that their major revenue streams came from government contracts [specifically, from the CIA].
One could go on for many pages, definitely cannot rate this sorry pile of wasted paper!
[Interesting to note that Zapruder belong to the Dallas Council on World Affairs, as did George De Mohrenschildt {Oswald's handler}, and J. Walton Moore, CIA's man in Dallas, head of their Domestic Contacts Division - - plenty of declassified files on Moore over at the Mary Ferrell Foundation, maryferrell.org, et cetera. Further interesting to note that J. Walton Moore was previously in the FBI {1940 -- 1945} as was Italy CIA station chief, William Harvey {1940 -- 1947}, they both worked out of the same office, and it was the CIA station in Italy, whose cables to the fascist French organization, OAS, were intercepted by Pfc. Dinkin, detailing the approximate dates for the assassination of President Kennedy in Dallas. Next interesting item is that Moore and Harvey were with the FBI at the same time the Dallas FBI SAC, J. Gordon Shanklin, began with them -- they all knew each other!]

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