This article aims to discuss the academic renewed interest on films set in a cinematic interpretation of the past. Separating fiction from truth should not be the first real purpose for ancient historians; furthermore scholars ought to commit to these studies without any disdain or patronizing superiority. Then, the author tries to examine the function played by the image of Rome in these movies, and the broad range of meanings shared by the representations of the city. Finally, the author analyses the evolutions in conceptualizing the eternity of Rome and the deep changes noticeable in many films from this point of view through the ages.
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