A Roman holiday with 'open heritage'? Exploring copyright law and cultural heritage law's role for our collective cultural interest in Italian film and Italian fashion.

This article examines the role of copyright law and cultural heritage law in shaping collective cultural recognition of film and fashion within film, focusing on Italian cinema exemplified by *Roman Holiday* (Wyler 1953) and *La Dolce Vita* (Fellini 1960). It argues that copyright law regulates the reproduction and public display of films and their fashion imagery, thereby influencing their ongoing cultural relevance, while cultural heritage law governs the preservation of tangible film reels and archives, supporting the valorization of cinema and fashion as cultural property. The article highlights the complex legal distinctions between tangible and intangible property in film and fashion, differences in U.S. and Italian copyright regimes, and the importance of institutions like Cinecittà in maintaining film and fashion heritage. Ultimately, it contends that law—through copyright, cultural property designation, and institutional frameworks—facilitates and shapes the symbolic and emotional meanings audiences attach to Italian film and fashion across transnational contexts.