While watching Super 8 footage from his personal archive, Margo, a photographer and avid cinephile, declares: “I’m playing these films for myself and I don’t believe it. Is this how we were? So stupid? So beautiful? So pure?” Thus ends Late Summer Blues (Renen Schorr 1987), one of the most popular Israeli films of all time. The film chronicles the lives of Israeli teenagers in the late 1960s and early 1970s, during the War of Attrition. Like most coming-of-age films following the lives of a group of adolescents on the verge of adulthood, the film is loaded with ample nostalgia for the time period it depicts. Late Summer Blues joins a line of audiovisual texts and an array of other agents of memory that contribute to the construction of the memory of the War of Attrition. This chapter will attempt to examine the images of the war and the memory shaped—primarily, though not exclusively—through film and television. Two central motifs will inform this discussion: innocence and protest. Their significance is mostly the result of cultural and media circumstances, and to a much lesser extent a reflection of historical reality.