Wheeler and Feynman (1949) were the first to claim that the fact that nature is continuous could be used to argue that causal influences from later events to earlier events, as are made possible by time travel, will not lead to paradox without the need for any constraints. Maudlin (1990) showed how to make their argument precise and more general, and argued that nonetheless it was not completely general.
Imagine the following set-up. We start off having a camera with a black and white film ready to take a picture of whatever comes out of the time machine. An object, in fact a developed film, comes out of the time machine. We photograph it, and develop the film. The developed film is subsequently put in the time machine, and set to come out of the time machine at the time the picture is taken. This surely will create a paradox: the developed film will have the opposite distribution of black, white, and shades of gray, from the object that comes out of the time machine. For developed black and white films (i.e. negatives) have the opposite shades of gray from the objects they are pictures of. But since the object that comes out of the time machine is the developed film itself it we surely have a paradox.
However, it does not take much thought to realize that there is no paradox here. What will happen is that a uniformly gray picture will emerge, which produces a developed film that has exactly the same uniform shade of gray. No matter what the sensitivity of the film is, as long as the dependence of the brightness of the developed film depends in a continuous manner on the brightness of the object being photographed, there will be a shade of gray that, when photographed, will produce exactly the same shade of gray on the developed film. This is the essence of Wheeler and Feynman's idea. Let us first be a bit more precise and then a bit more general.
For simplicity let us suppose that the film is always a uniform shade of gray (i.e. at any time the shade of gray does not vary by location on the film) The possible shades of gray of the film can then be represented by the (real) numbers from 0, representing pure black, to 1, representing pure white.
from http://plato.stanford.edu/entries/time-travel-phys/#3(Stanford Encyclopedia of Philosophy)
