Thom Anderson, writer, director, producer. Los Angeles Plays Itself . Thom Anderson Productions, Los Angeles, 2003, not available on DVD, 169 min. Terence Davies, writer, director, narrator. Of Time and the City: A Love Song and a Eulogy . Hurricane Films, Liverpool, 2008, DVD, 73 min. Yael Hersonski, director. A Film Unfinished . Oscilloscope Laboratories, New York, 2011, DVD, 90 min. Home Movie Day . www.homemovieday.com/. Ken Jacobs, director. New York Ghetto Fishmarket 1903 . Tzadik, New York, 2007, DVD, 132 min. The Life of a City: Early Films of New York, 1898–1906 . http://memory.loc.gov/ammem/papr/nychome.html. Moving History . http://www.movinghistory.ac.uk/. Sagar Mitchell and James Kenyon. Electric Edwardians: The Lost Films of Mitchell and Kenyon . Oscilloscope Laboratories/Milestone Films, New York, 2009, DVD, 85 min. Peoples’ Stories: Liverpool Lives . http://www.peoples-stories.com. During the last decade, there have been a number of attempts to reconstruct historical places by assembling old film and video footage. The results provide architectural and urban historians with previously forgotten documentary evidence as well as an innovative vehicle for scholarship. While mainstream documentary film traditions have focused on capturing the present—especially in the classic city films such as Manhatta (Charles Sheeler and Paul Strand, 1921) and Chelovek s kinoapparatom / Man with a Movie Camera (Dziga Vertov, 1929)—an alternative tradition focused on capturing the past has also flourished. In his 1964 monograph Films Beget Films, Jay Leyda coined the term compilation film for this genre. The compilation film, according to Leyda, originated in 1898, when Francis Doublier assembled unrelated Lumiere shorts into a bogus documentary of the Dreyfus affair.1 The form reached an early peak in Padenie dinastii Romanovykh / The Fall of the Romanov Dynasty (Esfir Schub, 1927), and flourished during World War II ( The True Glory , Reed & Kanin, 1945, and the Why We Fight series, Frank Capra, 1942–45). After the war, NBC’s Victory at Sea (1957) established a compilation format that remains the default style of history documentaries on TV. In the last ten years, this format has come into vogue again in theaters. The movies discussed here illustrate some currently popular approaches to urban historiography via archival footage, which might be categorized as credulous, critical, appropriative, or investigative. The credulous approach, emphasizing what is represented in the footage, tends to present film as a nostalgia-laden artifact to be mined for details. Early cinema’s brief, unedited, storyless, and characterless views of people and places known as “actualities” are sitting ducks for this kind of appropriation (e.g., Ken Burns and Lynn Novick’s 2011 Prohibition ). But no movie is safe, and credulous zeal can leach …