Repetition gives rise to hilarity as a dramatic male voiceover pronounces the word “dead, the phrase “where he dies,” or variations thereof over and over again in Aaron Valdez’s Only the Dead. Yet, the silliness of the supercut form is countered by the awareness that we are looking – however briefly and obliquely – at images of actual dead bodies aired previously on the reality show The First 48. The televisual iconography of real human death – a motionless hand or foot, a spatter of blood, a slumped body only partially visible behind a door – is articulated as an impoverished vocabulary for representing genuine trauma. In this film, each cut is literally correlated with the extinguishment of a human life. (Jaimie Baron)

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