'That reality that cinema reproduces at will and organizes is the same worldly reality of which we are a part, the sensible continuum out of which the celluloid makes a mold both spatial and temporal. I cannot repeat a single moment of my life, but cinema can repeat any one of these moments indefinitely before my eyes. If it is true that for consciousness no moment is equal to any other, there is one on which this fundamental difference converges, and that is the moment of death. For every creature, death is the unique moment par excellence. The qualitative time of life is retroactively defined in relation to it. It marks the frontier between  the duration of consciousness and the objective tine of things. Death is nothing but one moment after another, but is the last. Doubtless no moment is like any other, but they can nevertheless be as similar as leaves on tree, which is why their cinematic repetition is more paradoxical in theory than in practice. Despite the ontological contradiction it represents, we quite readily accept it as a sort of objective time, the qualitative instant in its purest form. Like death, love must be experienced and cannot be represented (it is not called the little death for nothing) without violating its nature. This violation is called obscenity. The representation of a real death is also an obscenity, no longer a moral one, as in love, but metaphysical. We do not die twice. In this respect, a photograph does not have the power of film; it can only represent someone dying or a corpse, not the elusive passage from one state to the other.'

André Bazin, 'Death Every Afternoon', in Rites of Realism: Essays on Corporeal Cinema, edited by Ivone Margulies, publisher: Duke University Press

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