Chris Marker’s 1962 short film La Jetée (Criterion) was the basis for Terry Gilliam’s 1995 feature 12 Monkeys, both set in a post-apocalyptic future where “the earth’s surface and all of ­history—everything ever dreamed or known—lies irretrievably buried in a heap of radioactive devastation.” A few survivors, the “victors,” huddle beneath the ruins of Paris, subjecting their prisoners to a series of dangerous experiments that attempt to send an emissary through a hole in time “to summon the past and future to the aid of the present.” Someone is eventually selected for the mission, chosen because of his obsession with a single image from his past: a woman’s face seen once on the boarding platform—the jetty—at Orly airport, long ago. This acclaimed 28-minute film is made up entirely of black-and-white still images (with a single brief exception) and a voice-over narration that recounts events. A hardcover “ciné roman” version of La Jetée has just been republished by Zone Books. The pair—film and book—make a fascinating combination: the duration of each static image in the film highlights the time dimension, while in the book version the images (presented singly and in combination on landscape-oriented pages) arrange the same story in spatial terms.