Dangerous Knowledge.pdf

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Acknowledgments,
xi
Introduction: The Assassination Debates,
PART ONE
I
Chapter
I
Chapter
2
Chapter 3
The Zapruder Film, 35
The Body, 55
Images of Oswald,
71
PART TWO
Chapter
4
Chapter 5
Chapter 6
Chapter 7
The Warhol Silkscreens,
The Pop Camp,
119
101
Bruce Conner,
131
Assassination Video,
145
PART THREE
Chapter 8
Chapter
9
Chapter
10
Epilogue,
221
Executive Action,
165
The Parallax View/Winter Kills/
BluwOu~
183
JFK,
205
Notes,
223
Index,
259
ix
Acknowledgments
any people have played important roles over the course of my
work on this project. My greatest debt is to Robert Sklar. I
have benefited immeasurably from his teaching and counsel,
and my approach to history and
film
has been profoundly
influenced by our friendship and dialogue over the years. I am grateful to
Paul Arthur, my colleague at Montclair State University, not only for
his
input into this project, but for what he has taught me about the avant-garde
cinema. Paul's casual remarks about
film
are generally more insightful than
most people's concentrated efforts at critique. Teresa Podlesney has made an
extraordinary contribution to my thinking about the cinema and, in fact,
about anything worth having a passion for - politics,
Pat Garrett and Billy
the
Kid,
good scotch, Dean Martin.
Ann
Harris provided constant support,
both intellectual and emotional, throughout the entire writing process. For
their generous concern for my work and assistance with this project I want
to thank William Simon, Peggy Phelan, Richard Allen, Melinda Barlow,
and Fay Plant. Amber Hewins and Kevin Walter provided crucial help dur-
ing the final stages. I am especially grateful for the support and consider-
ation ofJanet Cutler and Jim Nash. My thanks go to Janet Francendese at
Temple University Press. I want to also acknowledge the editors of
Motion
Picture, Women and Performance,
and
Cineaste,
who granted me space in
their journals to work out some of the ideas in this book. For their assistance
in providing illustrations or permissions I want to
thank
Bruce Conner,
Chip Lord, Michael McClure, Beth Savage at the Warhol Foundation, and
David Russick at the Phyllis Kind Gallery in Chicago.
Friends and family outside the university have been incredibly helpful
and supportive. There is no way to adequately thank Neal Karlen. Since the
days of Metropolitan Stadium, whether via short or long distance, he has
provided me with nothing but encouragement and great humor. My work
has been sustained by the camaraderie and patience of Jody Abramson, Jeff
Cohen, Steve Burnham, Ed Markovitz, Craig Hunegs and Daniela Roveda,
Carolyn Hunegs and Stuart Bloom, Harlan Berger, Sheila Berger, and Mi-
chaelRips.
Tom Simon first introduced me to the literature of the assassination; he
and Vicki Simon have been as enthusiastic and supportive as any brother
and sister could be. Melinda Peterson, Glen MacWilliams, Carrie Simon-
M
xi
MacWilliams, and Saul Simon-MacWilliams all endured many hours of
conversation about the Kennedy assassination.
I am most grateful for the love and loyalty of my father, Stan Simon, who
taught me
to
keep my eye on the ball, take a level swing, and guard the plate
when there are two strikes. I ask him to share the dedication with Barbara
Berger. Barbara's patience and understanding never wavered, especially dur-
ing those periods when I grew impatient and unsure. Without her extraor-
dinary personal commitment, generosity, and love, this book would never
have been written.
xii
Acknuwledgments
Dangerous Knowledge
The JFK Assassination in Art and Film

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