Abstract
The past sleeps lightly at Olympia. Recall the opening sequence of Leni Riefenstahl's 1938 film, Olympia. In a misty landscape of ruined buildings, broken columns, and weeds run wild, a Greek temple stands amid the wreckage. Statues appear and then waken to life; a naked athlete throws a discus, another a javelin – this heads towards a bowl of fire. Another naked youth lights the Olympic torch and holds it high. It is carried from hand to hand in a relay and then reaches the stadium in Berlin, home of the 1936 Olympic Games, which the film is meant to celebrate. Adolf Hitler salutes the spectators, 100,000 strong.
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