The aim of this article is to show that readings of Riefenstahl as an artistic genius with full control over all aspects of her work have closed off more complex readings of the prologue of her film Olympia (1938). The author argues that we cannot begin to appreciate the density of this section of the film and its complex attitude toward ancient Greece without taking a closer look at the troubled collaboration between Leni Riefenstahl and Willy Zielke as two filmmakers with different visions, preoccupations, methods of work, and degrees of involvement in the making of the prologue. Attention is drawn to the hermeneutic difficulty of policing the boundaries between different types of aesthetics and different types of politics as they are played out in this section of Olympia. The article also teases out some of the difficulties around the question of how to situate the different themes and practices of the prologue within broader cinematic and extra cinematic histories of fascist aesthetics as they intersect with issues of classicism and modern subjectivity.

本文的目的是表明，将里芬斯塔尔视为一位完全控制其作品各个方面的艺术天才的解读，已经阻止了对她的电影《奥林匹亚》（1938）序言的更复杂的解读。作者认为，如果不仔细研究莱尼·里芬斯塔尔和威利·齐尔克这两位有着不同愿景、关注点和拍摄方法的电影制作人之间陷入困境的合作，我们就无法开始欣赏电影这一部分的密度及其对古希腊的复杂态度。工作，以及参与序言制作的程度。人们注意到在奥林匹亚的这一部分中表现出的不同类型的美学和不同类型的政治之间的界限在解释学上的困难。文章还梳理了围绕如何将序言的不同主题和实践置于更广泛的法西斯美学电影和电影外历史中的问题，因为它们与古典主义和现代主体性问题相交叉。