She pays attention to the central place that photographs occupy in his work, as well as to the emergence in his filming of statuary, painting and other static images, including the film still, and his interest in fixed frame shooting. She engages with key debates in photographic and film theory in order to argue that a different conception of time emerges from his filmic explorations of stasis.
In detailed readings of each of his films, including 'Le souvenir d'un avenir' and'La Jetee', 'Sans soleil' and 'Level 5', Cooper charts Marker's concern with mortality in varied historical and geographical contexts, which embraces the fragility of the human race, along with that of the planet.