Women pioneers in archaeology.

Women in the history of archaeology media portrayals

 

Women have held a role in archaeology since it first began to emerge as a discipline. In some case undertaking ground-breaking activity in research, excavations, and in some cases developing the forbearers of modern-day fieldwork techniques. But how have these actions been conveyed to the wider public? There are many established female scholars in both the history of academic archaeology, and currently researching today. While in developer-led archaeology the ground team is still chiefly comprised of women (Everill,2012), alongside post-excavation teams and project management. But how are these roles communicated to the public through various media? Archaeology is often touched upon in fiction, novels, films, and video games, but also documentaries. I should preface this chapter by recognising that of course standard fieldwork and research methodology does not create a fictional medium that can spellbind an unspecialized audience for a couple of hours.  Nobody expects it to, but the minutia of the plots, the positions held by which genders, the level of expertise of the characters, their ability and contributions to the work referenced is not necessarily as balanced as it should be when one investigates the practicalities behind the stories told.

If one were to ask the public what books they know of that contain archaeology, or for that matter, place a quick search on the internet for “archaeology in books”. One of the first results is immediately Agatha Christie, she wrote several books incorporating archaeological sites observed during her time living in the Middle East—Murder on the Orient Express, Death on the Nile, Appointment with Death and possibly most notably, Murder in Mesopotamia. Strangely none of these features an archaeologist (barring a British television remake of Appointment with Death much later) except for the final novel. Murder in Mesopotamia. This being based upon the site where she was introduced by the director and his wife to her second husband, she shortly going on to immortalise the Woolley’s as her lead characters. (Mallowan,2012) It should be noted at this point that Katharine Woolley was not only working alongside her husband as an equal but was in the process of making archaeology accessible to the wider public rather than only academia. Woolley's series "Digging Up Bible History" was a collection of articles published in the popular women's magazine Britannia and Eve, explained in some detail the methods of excavation, profiled some of the excavators involved, and highlighted key discoveries during the ongoing work.

From 1949-1958, her then husband Max Mallowan was the director at the site of Nimrud in Iraq, famous for its ivories. Agatha took and kept the photographic record for the site, and apparently,

 

(using her cosmetic supplies, cleaned the pieces herself with an orange stick and diluted cold cream) helped pioneer some of the first preservation techniques for the ivory artefacts. Max noted:

“For the preservation of the objects and their treatment in the field, Agatha’s controlled imagination came to our aid. She instantly realized that objects which had lived under water for over 2000 years had to be nursed back into a new and relatively arid climate…” (Mallowan,2012)

So, one of the most renowned authors related to archaeology in novels, with lived experience of excavation, recording and post-excavation conservation development, who also observed Katharine Woolley both working and reporting to the public about archaeology, fails to reference any female archaeologists in her large catalogue of works, which continued for almost two decades after her time at Ur. Could this be indicative of the wider public’s views on women in the field at the time, or at least, Christie’s, or possibly her publisher’s interpretation of those views?

Upon further looking for archaeologists in novels, particularly those of the female gender. One rather quickly comes across the fictional Egyptologist Amelia Peabody, at least according to the introductory blurb. However, reading the novels reveals Amelia to be a Victorian woman of inherited wealth, and admittedly an adventurous spirit. But it is in fact her husband who is recognised as an established Egyptologist, later in the series holding a professorship at a London University. The series has been praised for its authenticity relating to Egyptology. Understandably so, as it was penned by Elizabeth Peters, one of two pseudonyms used by Barbara Mertz (September 29, 1927 – August 8, 2013). Barbara G. Mertz studied at the Oriental Institute of the University of Chicago, receiving an M.A. in 1950 and a Ph.D. in Egyptology in 1952. And therefore, exceptionally well qualified on the main topic of her fictional creation’s passion. She has mixed academic and fictional accolades, spending time serving as the president of American Crime Writers League, serving on the Editorial Advisory Board of KMT, A Modern Journal of Ancient Egypt. Holding membership of the Egypt Exploration Society and the James Henry Breasted Circle of the Oriental Institute. Under her academic name she has authored Temples, Tombs and Hieroglyphs, A Popular history of Ancient Egypt and Red Land, Black Land, Daily Life in Ancient Egypt. Writing under her Elizabeth Peters pseudonym, she produced thirty-seven mystery-suspense novels, many of them set in Egypt and the Middle East. Upon looking into her life for this paper, it emerges she held some strong feminist views. Mertz founded "Malice Domestic", a Washington-based organization for women mystery writers, "because she thought men were getting all the prizes." She also started a scholarship for women writers at Hood College. And yet despite holding a PhD in Egyptology herself, taking part in fieldwork she appears to have given the formal qualifications and recognition within the archaeological industry to the leading male gendered character in her fictional works. (MPM Manor, 2021)

Looking at more recent works, in hopes of seeing some of the more modern day shifts towards gender equality. One comes across the Eddie Chase and Nina Wilde action-adventure series by Andy McDermott. This is the first series, or even singular novel I have been able to locate where the main character introduced is a female archaeologist. Nina Wilde, in the first novel, is recognised as an early career academic, on a fast track to tenure in an American University. Unfortunately, this quickly gives way to the classic Indiana Jones take on archaeology. Dr Wilde and her requisite ex-SAS bodyguard turned husband travel the world taking on sinister underground cabals and sects, destroying several mythic grade archaeological sites in the process. In a similar vein to the famous Indiana Jones movies, there is no recording or interpretation taking place, aside from some token references to creating a photographic record prior to ruins being collapsed on various enemies.

A more modern media outlet showcasing archaeology is its use or reference in Video Games, over the past few years games such as Assassins Creed have come under high praise for their visual effects, including some highly accurate recreations of archaeological sites. Most notably their latest offerings, Odyssey and Valhalla, while the main characters for the bulk of the game are not archaeologists, but fictional historic based characters, both of which now offer a female option when the player chooses their main protagonist.  These games are not played from an archaeological viewpoint, but they do showcase reconstructions of known archaeological sites from reality, and there are various nods to archaeology’s role in the game’s design. For example, the “Archaeologists’ achievement” should one collect all the artefacts available to locate in the game. The latest game Valhalla came out during the pandemic of 2020, and a flurry of archaeologists on furlough took over social media airwaves praising the ability to travel across Britain seeking out various archaeological sites, alongside critiquing the inaccuracies therein, i.e. the main playable Viking character travelling to Roman ruins in London which Vikings aren’t currently known to have inhabited excepting the winter of 871AD (Trepanier,2020).

It is highly unlikely that the Roman architecture in Valhalla would be in the level of habitable condition portrayed, much more likely that it would have been repurposed or left to decline unattended as the archaeological record shows most Britons at this time would be located nearer to where modern-day Westminster now lies. While Geoarchaeology points to incorrect details regarding the climate. Portrayals of the landscape and locations show mountains heavily covered in snow during the Medieval Warm Period of 873AD. (Trepanier,2020).  A low-scale ice age started later in the Middle Ages, nearer to the 1200s, which takes place a lot later than Valhalla does.

There were also criticisms about gender roles within the game, Assassins Creed the franchise has been making changes during the last couple of its games, most notably in Odyssey and Valhalla, where you can now play as a male or female character, during the on screen past life regression plot. Although this likely has come out as a direct response to Ubisoft’s own recent issues with gender disparity and harassment within the workplace (Evening Standard, 2020). It transpires that the original designs for both Odyssey and Valhalla were solely female main characters, later both were relegated to secondary character choices, with the emphasis of the advertising showcasing the male character options in the gameplay released for the advertising. Unlike where I have had to speculate as to the earlier written author’s reasons for avoiding using a female lead character in the position of an archaeologist, a 3000 word report by Bloomsbury reveals, in the 21^st century, the exact reason why creators are encouraged, possibly even pressured away from using non male leads was summed up in the headline “Assassin's Creed developers told 'games with female protagonists don't sell', new bombshell report claims” (Webb, 2020) in the Evening Standard.

The obvious exception to the rule mentioned above would be the Tomb Raider franchise, again, ask the public to name an archaeologist in a video game, or perform a search on the internet and you will inevitably come across Lara Croft. A female protagonist takes the lead. However, despite the misconception long held by the wider audience, the original character of Lara Croft holds no training in, nor is self-taught as an archaeologist. Artefacts that are not destroyed during the course of the game are retained and kept on display away from the public, in the privacy of Croft manor, possibly upon occasion mentioned in public access articles relating to Lara’s occupation in the original series as a photojournalist. The rebooted version from 2013 onwards is now an archaeology graduate from the Institute of Archaeology at University College London, although again, the games and the films focus on an adventure – action, occasionally revenge, trope rather than focusing on any actual archaeology. Occasionally artifacts are discovered for the viewer to examine, but the emphasis remains upon guerrilla warfare.

Animal Crossing was not designed with archaeology in mind but has been very popular during the 2020 lockdown, particularly on women only facebook groups and therefore displaying archaeology to the public from a female perspective.

Whilst researching this paper I did come across a video game that I had not previously heard of. Possibly because it had a limited platform release, Microsoft Windows, and PlayStation 4 on April 16, 2019, and for Nintendo Switch on January 28, 2021. Likewise, its creator company Inkle is not a well-known name outside of the hardcore gaming community. Inkle is a small, independent narrative game company, founded in 2011 by two Cambridge game developers. A development team with an emphasis on storytelling and accurate, detailed design. (Inkle 2020)

Heaven's Vault is an archaeological science-fiction adventure game released by Inkle. Moving away from the typical Indiana Jones, and Tomb Raider tropes. In this game there are no such action or tragedy driven backstory, no mythical artefacts, no unbeatable odds and advanced military or supernatural enemies. Apparently, this is the first archaeology focused game where the protagonist has no advanced capabilities, superpowers, or super athleticism. No conveniently placed medipacks or ammunition dumps. No pseudoarchaeology suggested where primitive man could only have advanced with an extra-terrestrial interference, no hidden T-Rex’s to take down with a well-timed back flip and Uzi.

Regarding the main character themselves. A qualified, academically recognised female archaeologist with field experience, following field appropriate methodology. The archaeologist in question here is not your traditional cishet white middle-aged male. In terms of appearance and conduct. As Aliya, the player is attired appropriately for fieldwork clothed in a head-covering, long sleeves, and long, sturdy trousers. None of the stereotypical characteristics falsely attributed to the identity of an archaeologist. No gimmicks harking back to colonialist overtones as in the classic movies and games, such as a pith helmet or fedora. No character identifying token firearms or whips.

Like the original Indiana Jones storylines familiar to the public worldwide over the years. This character’s research is linked to a university, although in this case the main character spends time at the University, notably mainly in the library. And despite the in-game curator’s drive for collecting artefacts for the museum, this is not the player’s main or sole purpose. More so there are real-life, career impacting consequences for making unethical choices such as looting and black-market engagement.  

The physical restrictions are more realistic, although admittedly not in keeping with today’s health and safety requirements for fieldwork methodology. But one can find oneself making as small jump, as opposed to the often impractical and unharnessed leaps up cliff faces one often encounters in most action adventure games.

What does seem to be of interest here is that the development team appear to have taken real life examples, regarding archaeological methodology. Drawing from established resources such as research framework questions. Often created from collaborative bodies. The one I am most personally familiar with being the South East Research framework (SERF) questions put from a collection of researchers from various sectors of archaeology who have come together to create a research and agenda strategy going forward that shape current and future archaeology focused work in varying regions. Aiming to establish a series of research questions designed to fill in the gaps unanswered in our knowledge about different prehistoric and historic periods.

Unlike most of the other media representations mentioned here, Heaven’s Vault differs in that it does not seem to shy away from showcasing its female archaeologist’s intellect and ability, indeed there is a determined effort to place critical thinking at the foremost of the gameplay. The questions she asks reflect the type of archaeological research questions referenced above. The player is set up to ask these questions upon encountering a new place, a new structure, a new artefact, a new inscription. Many of these seem to have been borrowed from the adage of how one should format a journalistic article, but they are equally applicable to archaeological research and enquiry.  “What is this? Why is it here? Who made it? Who lives/lived here? Who wrote this, and what does it say, and can context for all these things help with interpretation both singly and in an entangled way?” (Reinhard, 2019)

Whilst the gameplay itself does not feature any practical excavation. The player can visit sites that have previously been excavated. There is also the ability to collect surface finds, and artefacts can be dated via stylistics, fabric, and context. While this British based game therefore does not follow the most commonplace methodology in current developer led archaeology in the UK. It does allow the audience to gain an insight into the variety of methodology contained within archaeology, and serves as a useful reminder, or indeed, for some, notifier that not every archaeological site is a “Time Team” site. In this instance the female archaeologists’ expertise leans more towards research and analysis, this is an important reminder that both academic, and developer led archaeology, can benefit from collaborative work and both hold an equal importance in analysing the public heritage of the past.

Communication is an important factor in this game, networking, recognising others knowledge and expertise and the need for cross-disciplinary and same discipline collaboration is often emphasised. And is arguably reflective of the Archaeology community, with national and international professional boards, research collaborations, conferences, talks and presentations. In both the game, and in any professional industry these relationships must be built and maintained.

As a final point, the developers here have not only, selected to use a female archaeologist as their lead character, and gone so far as to attempt to convey to their audience a more realistic visualisation as to what real life (admittedly slow paced for the classic video game genre) archaeology entails. But they have also picked up on current issues raised within archaeology. One might argue long overdue, but currently coming to the forefront of archaeological ethics.  It touches upon the issues of colonialist archaeology. The players’ initial presence is deeply resented by the indigenous population. It comes across as a direct commentary upon the archaeological community’s poor representation of native archaeologists, and our lack of diversity in the profession when one looks at the statistics of people of colour, even more so women of colour in archaeology. How this situation plays out, is down to the choices of the player, possibly reflecting the real-life consequences of archaeology’s divisions in the present day.

Another common media forum for displaying archaeology to the public is film, traditionally the larger, blockbuster, fiction movies. These tend to not necessarily touch upon the realisms of archaeology, but often, use it as the steppingstone to the main plot. Very few of these go into the more minute details of archaeology, and certainly very few showcase the expertise of a female archaeologist.  Action films particularly seem to enjoy opening or key scenes that squarely put the blame at the foot of archaeology for triggering some world threatening event. One which will often require the (usually male) main character to step up and subvert evil through brute force and heroism.  The Exorcist, Indiana Jones and the Raiders of the Lost Ark, Aliens Vs Predator, Stargate, The Mummy, (for the reader’s sanity I will forgo Stonehenge Apocalypse, but there are plenty more B horror movies out there, including some of the more famous zombie hits, using unwitting archaeologists as unleashing the forces of evil into the world) all these films reference archaeology, but in a highly fictionalized and often inaccurate fashion.

Out of the above, Stargate and The Mummy are the only two that present a female character with a comprehensive knowledge of history. In Stargate it is Catherine Langford, introduced in the opening scenes as a young girl accompanying her archaeology Professor father as he discovers the stargate in Giza, and then briefly reappears many years later, to pass the reigns to James Spader’s Daniel Jackson despite her seniority and superior experience. Essentially, she serves as a minor character to facilitate the film’s male co-lead. Catherine Langford’s ability as an archaeologist and Egyptologist was not recognised until the 2018 (some twenty-four years after the blockbuster film’s initial release) web-based film “Origins” which came about due to fan pressure but was still not deemed worthy of a mainstream release.

The Mummy (1999), arguably, takes on a far more feminist approach. The main plot is centred around the attempts of a 1920s woman’ s desire to be taken seriously for her academic abilities. Her lifelong goal to join the acclaimed Bembridge Scholars being the chief driving force behind her previous research and subsequent actions throughout the movie.

Unlike other movies of this genre, this film seems to revolve around the lead female’s aims and ambitions. Her two male companions do not have their own determined agendas for the journey, they are there as companions, and accede to her far greater knowledge on the topic and subject of the archaeology of the area, the historical context, and their surrounding area.

A key difference in this film, as opposed to other narratives, for example, Netflix’s The Dig, which will be discussed in short course. Is that Evelyn’s abilities as a scholar and researcher are not underplayed, her ability is never infantilised as often seems to occur with other female characters in this genre. The main driving force behind her actions is to be recognised and have her career growth mirror that recognition. She refuses to be undermined, disregards several derogatory remarks made by men about her ability and subject knowledge in her presence. Also refusing to engage in the shows of one-upmanship that various male characters engage in. There is only one scene where she becomes dispirited, upon discussing her rejection from the Bembridge Scholars. This comes across as deliberately scripted to illustrate that her anger and frustration in the scene, and subsequent related conversations come from the lack of recognition of her abilities, as opposed to her questioning herself, or falling prey to imposter syndrome, due to a lack of scholarly support.

The films mentioned above give the public a skewed insight into archaeology. It is a far from accurate portrayal as to what archaeology is comprised of, or as to what archaeologists of any gender have or still will contribute to public heritage. Much in the vein of the now famous, albeit currently discontinued Time Team, here is a television show that admittedly, may have given misleading timescales for excavation, and lead to great expectations of sensational finds for all excavations, but it did do a wonderful job of putting archaeology into everybody’s living room, during primetime, and making the public aware as to what has the potential to be just underground, unlocking the key to our past as a society. This more realistic approach to archaeology has also been picked up for the larger screen, although it must be remembered that the primary goal of producers is entertainment and to draw as large an audience as is possible. But there are now being produced, particularly in the last decade, movie quality films that show archaeology in a more realistic light.

 In 1975 Glyn Daniel published a follow up to his original work of 1950, A Hundred years of Archaeology. 25 years later, in his interpretation of the history of archaeology “A hundred and fifty years of archaeology” His areas on both pioneers of the science and the later generations that contributed up to and including the date of his publication significantly minimised the contributions of women. (Root, 2006, pg.6) There is scant mention of Amelia Edwards, traveller, writer, one of the founders of the Egyptian Exploration Fund, a staunch supporter of instigating further fieldwork in Egypt and proponent of Egyptology. (Daniel, 1975) Completely omitted any mention of Hilda Petrie, and reduced any discussion of Gertrude Bell down to a fleeting notice of her role the Iraq Museum’s creation of an Antiquities department. Much more recently Bell’s work in the Middle East has been memorialised in film. The Queen of the Desert, launched in 2015 portrayed by Nicole Kidman.

Queen of the Desert, came at an auspicious time for women working in the heritage industry, at least in the UK. A week prior to its launch, the 2015 CIfA (Chartered Institute for Archaeologists) conference had taken place with its #glassceiling session, the first time the issues of sexism and gender inequality in the profession had warranted a full session within the institutions conference programme. Equally #EveryDig Sexism found itself trending worldwide across social media as people found their voices and started sharing lived experiences of harassment in both academic and developer led archaeology.

Erin Lloyd Jones noted on her blog “I dig Archaeology” having attended the films 2015 premiere “I definitely remember learning about T E Lawrence at school, but I wonder how many of us know as much about the wonderful, inspirational adventures of Gertrude Bell, a pioneering woman archaeologist, explorer, diplomat? She was, after all, the ‘Queen of the Desert’…” (Lloyd Jones, 2015)

Werner Herzog’s produced the 2015 film Queen of the Desert, running at just over two hours long. It was marketed as a biopic of the fascinating life of Gertrude Bell. It held its UK premiere at the NBC Universal in London, starring Nicole Kidman, as Gertrude Bell, Damien Lewis, James Franco, and Robert Pattinson playing a young Lawrence of Arabia.

In theory, the real-life biography of Gertrude Bell makes for a bestselling movie plot.  She is famous for being one of the first women to go to Oxford University, gaining a first-class degree in Modern History after just two years of study. She travelled extensively in the Middle East, exploring the land, investigating the archaeological sites, learning their language, writing her thoughts, and building relationships with the leaders of the Middle East- embarking on dangerous and political missions, fuelled by her intimate knowledge, passion, and love of the Arab people.

 

This led her to be recruited by the British Intelligence during the First World War. She was the only woman to be present at Winston Churchill’s Cairo Conference in 1921, to determine the future and boundaries of Iraq. Her relationships and extensive knowledge with the Middle East helped her to become a diplomat and a powerful force politically whilst maintaining local rulers’ respect and warm regards.

“Bell was an extraordinary figure, tailor-made for a dazzling presence like Kidman, but Werner Herzog, directing his own script, unwisely structures Bell's story around her intimate relationships with men…”

Sadly, upon watching the film it transpires that it is difficult to disagree with the above critic’s comment. I had initially sat down excited to watch the film for this paper. Encouraged by Lloyd-Jones’s statement from her attendance at the premiere that, “I was really quite pleased, however, that although Lawrence’s character was definitely one to remember and had a big impact, it wasn’t a leading role, leaving the limelight for the extraordinary explorations of Gertrude Bell to achieve the exposure they deserve.” (Lloyd Jones, 2015) Led me to expect that the film was going to focus chiefly upon Bell’s exploration of the Middle East and her archaeological investigations.

In truth it is 47 mins and 52 seconds into the film before the word archaeology is first mentioned, quickly followed by a single Neolithic artefact, and Bell’s only attendance at an archaeological site in Petra. Her contributions to archaeology instead glossed over for screen time in favour of a shared flirtation with TE Lawrence. I could find no reference that the two ever crossed paths in Petra, rather Carchemish, at which point she was quizzed upon her archaeological credentials. (Lawrence, 1911) The first hour of the film seems dedicated to Herzog getting the message across to the audience that Bell is “Not like other women” and setting up a storyline focused on the tragedies of her love life.

Bell’s journeys and her written records of her archaeological, historical, political, and cultural observations throughout the film, are essentially omitted in favour of a voiceover of love letters exchanged between her and the unavailable Richard Doughty-Wylie. The value of Bell, as transmitted to the audience, is communicated to be in her desirability to men of power.

Herzog did include in the opening scenes the now infamous description of Bell by Mark Sykes, misogynistic and degrading terms used, that one would assume would have never been applied to describe any of her male contemporaries. 'Confound the silly chattering windbag of conceited, gushing, flat-chested, man-woman, globe-trotting, rump-wagging, blethering ass!' There is little else in the film that accurately focuses on the difficulties a western woman subverting society’s expectations would encounter travelling in the places and circles Bell did. Excepting the repeated concerns for her safety voiced by her various love interests in the film. Lloyd Jones noted that having the main character of a film relating to archaeology be Gertrude Bell was “Extremely poignant in times today, 100 years on, when discrimination in the archaeological workplace is a hot topic, with #everyDIGsexism trending within our social community this week.” (Lloyd jones, 2015) As the film itself sadly does not showcase Bell’s notable contributions to the field of archaeology I would argue it is the inclusion of Sykes’ condemnation of her character, and the belittling of her achievements by the film’s producers that rings a note of familiarity with #EveryDigSexism.

I began my undergraduate studies in archaeology in 2006, and as all undergraduates in the UK do, began with an introduction to archaeological methods and theories. We were introduced to the works of Pitt-Rivers, Wheeler, Petrie, Childe, and more recently, Binford and Hodder. I recall a double page spread on women pioneers in archaeology in the standard core text Renfrew and Bahn coursebook, but little in the course syllabus. As a female student of archaeology, I found myself looking for potential role models whose work I could examine to set me on my own career path. I came across articles, one of which was describing the work ethic of Gertrude Bell, I believe it was praising her unusual ability as a woman to dig in a long skirt with a long-handled shovel, throwing spoil over her shoulder without dislodging the ash from the cigarette hanging from her mouth. As a woman born in the eighties, who grew up in the 90’s and early 2000’s with the constant phrases of equality and ‘girl power’ being broadcast to my generation via the television, magazines, radio, and all other forms of media. Who, had not yet been subject to or in a position to notice any gender, race or class, based progression gaps in career paths. Who has always had the right to vote from the age of 18, and was currently at this point sat in a university class for archaeology where the gender makeup of the class was predominantly female. I had little, if any, understanding as to why this was so radical. It is only as I came into a career in archaeology and noticed the employment trends around female archaeologists, the rate of paper publications, the acknowledgements and accolades of male archaeologists outnumbering those of women, that the significance of why women such as Gertrude Bell were considered so extraordinary. It is therefore even more disappointing to see this potentially internationally received presentation of female contributions to archaeology reduced to a two-hour production of sweeping desert sandstorms and lovelorn letters of failed long-distance relationships and associated longing.

The film itself does nothing to showcase the photographic records Bell created of both her work on various archaeological sites and her travels, her comprehensive work detailing the complex relationships between various Sheikhs, her work recording the boundaries of the areas she visited, the cultural understanding she developed throughout the countries visited, her political involvement and influence. Certainly, it does not remark upon the more problematic of some of her opinions, and actions. A lot of the work she engaged in, including the Cairo conference of 1921 as one of Churchill’s ‘Orientalists’, would in the present day be recognised as typical colonialist behaviour.   Although to add to the complexity here, she was a strong supporter of Iraq’s right to reclaim and display its historical relics. All these elements could have contributed to a much more elaborate and engaging storyline for the audience.

The film “Queen of the Desert” was followed the next year by a documentary, which does come up as the next suggestion if one watches the film on Amazon Prime, which may help to increase how widely it is viewed. Although it failed to secure the same marketing, publicity, and big screen box office release that Herzog’s fictionalized biopic did. “Letters from Baghdad” is a one-and-a-half-hour-long documentary launched in 2016. It uses original film reel footage, photographs, and actors voicing excerpts from letters and diary entries written at the time. It also gives a much more rounded view of Bell as a person, with a higher emphasis on her goals, efforts, and accomplishments. While it does touch upon the intricacies of her personal life, such as her admittedly complicated romantic relationships, it also elaborates in far greater detail her academic achievements, credentials, and her final post as the museum of Baghdad’s Honorary Director of Antiquities 

More recently, the streaming service Netflix produced and aired “The Dig”. It was launched on the 29^{th of} January 2021. And unlike the previously mentioned examples in all media formats, had the benefit of being immediately available in all households upon request, notably during a time when people’s options of entertainment were severely limited due to the UK lockdown resulting from the 2020-2021 Coronavirus pandemic. Essentially, this was the first big budget, entertainment-based representation of archaeology that had to a degree, a captive audience.

The Sutton Hoo treasures are still to this day a large tourism draw in the British Museum. It is probably to date the most significant treasure trove of the 7^th century. It was a 70-foot-long ship burial complete with the largest collection of weapons, coins, household goods, wares, and armour, including the intricately designed helm which now forms the centrepiece of the display in the museum. The intricate and detailed designs on the artefacts exposing the misnomer that is “The Dark Ages” for this period in British history.

 Before looking into the portrayals of the female contributions represented in The Dig, it is important to note that The Dig was also an opportunity to educate the public upon how archaeological excavations come about, what issues and pressures they face, and what the eventual outcomes are.

The film stars Ralph Fiennes, who spent some time working with the developer led team at Museum of London Archaeological Services to learn some fieldwork and excavation methodology, (Jessica Bryan, MoLA, 2020, pers comms.) as Basil Brown, a self-taught archaeologist, although he refuses to describe himself as such, and excavator hired by widow Edith Pretty (Carey Mulligan) to investigate the ancient mounds on her property in Sutton Hoo, Suffolk, England, in the late 1930s during the runup to World War II.

The film showcases some of the issues that the excavation faced, some of which are still faced in archaeological excavations to the present day. It showed physical limitations, challenges posed by both weather and geology, natural impacts on stratigraphy such as bioturbation, the shadow of war, time limitations, which essentially shaped the rescue nature of the dig, class issues, and the potential for a perceived clash between a more academic or practical approach.

It must of course be remembered that the film was produced as entertainment for a wide audience, not one comprised only of archaeologists. As a result, the issues mentioned above were exaggerated to a far greater degree than documentation of the actual dig shows. There is for example no evidence that Basil Brown was buried alive, although a genuine concern existed that the viewing platform may sink due to the sandy nature of the ground. There was no warplane crash near to the area during the dig. And Charles Phillips and Basil Brown, whilst not always agreeing with each other, and admittedly Phillips not always seeing that Brown was acknowledged appropriately in the Sutton Hoo display, (although I believe from the documentation that may have been more down to a clash between the British and Ipswich museums) did hold a lot of respect for each other’s work and methodology. (Suffolk Archives, 2020)

As mentioned above, this is a film aimed to collect the widest possible viewing audience, adapted from a fictional novel that had the same intentions. Therefore, events are altered and dramatized accordingly to that end. There is an emphasis upon Edith Pretty being in failing health trying to secure her son’s future., Edith passed away due to a stroke in 1942, and I have seen nothing apart from The Dig, both film and novel that she was this aware of her impending death. She was also substantially de-aged for her portrayal in the film. Originally Nicole Kidman had been signed up for the film, withdrawing in 2019 due to other commitments but would have been much closer to her actual age range, as was first choice Cate Blanchett. Incidentally, Fiennes is a full seven years older than Brown. A romantic subplot is established amongst the team of archaeologists. A clash of classes, and the implication of academic snobbery between the team of British Museum archaeologists led by Charles Phillips (Ken Stott) and working-class labourer Basil Brown. Notably, Britain is just about to enter the war with Germany, heightening the need for a speedy excavation, and a race against time for the safe extraction of the hoard.

The film version of The Dig is based upon a novel of the same title by the nephew of Cecily Margaret Guido, John Preston, published in 2007. Preston had little contact with his aunt over the years and the Sutton Hoo dig had only come to his attention in the Mid-2000’s, approximately a decade after his aunt’s death. Moreover, throughout the novel and the film she is referred to exclusively as Peggy Piggot. I personally have been unable to discover any reference that she went by this name in her professional life. All the articles she wrote that I have been able to locate are under the names of Piggott, C. M. and Guido, Margaret. I suspect that Preston may have grown up with other family members referring to “Aunt Peggy” and this infantilization of an otherwise much more formal, academically established sounding Cecily, or Margaret, was a far better vernacular fit for the image he wished to portray of Guido.

In the setting of the film, she is portrayed as ill-prepared for excavation, clumsy and inexperienced. Archives from previous excavations taking place prior to the Sutton Hoo excavation suggest quite the opposite. When questioned, Mr Preston has argued against the claims that his novel is unfair on ‘Peggy’. “She was 27 when she did the dig in real life so to suggest that she was a grizzled professional is pushing it a bit,” (Daily Express). In reality she was already an extremely capable lead excavator with several publications to her name before she joined the Sutton Hoo dig, a quick scan of JSTOR pulls up three substantial papers around this timeframe.

·         Piggott, C. M. and Seaby, W. A. (1937). Early Iron Age site at Southcote, Reading. Proceedings of the Prehistoric Society 3, 43–57.

·         Piggott, C. M. (1938). A Middle Bronze Age barrow and Deverel-Rimbury urnfield at Latch Farm, Christchurch, Hampshire. Proceedings of the Prehistoric Society 4, 169–187.

·         Piggott, C. M. (1943). Excavation of fifteen barrows in the New Forest, 1941-2. Proceedings of the Prehistoric Society 9, 1–27.

 

Reducing Guido’s role in the Sutton Hoo excavation does not only impact her portrayal as an archaeologist to the public, however. To facilitate the romantic subplot, which also unfairly indicates issues within the marriage between Guido and her first husband, not to mention implying the idea that Stuart Piggott was a repressed homosexual. (In reading about Guido, I have learned that they stayed on good terms and visited each other often in their later years). Preston created a wholly fictional character by the name of Rory Lomax, cousin to Edith Petty. To emphasize the proximity and closeness required to develop this romantic side story with the apparently young, naive, inexperienced, and ignored due to her husband’s implied sexual preferences, “Peggy”, Rory is given a passion and talent for photography, becoming the excavation’s de facto photographic archivist.  

In fact, this comprehensive and ground-breaking, the first ever to my knowledge, colour photographic archaeological record of an archaeological excavation in England, was conducted by two women, Mercie Lack and Barbara Wagstaff. Further contributed to by O.G.S. Crawford. This colour archive is still housed today, and viewable by appointment, by the Society for Antiquities. To uplay the men’s’ capabilities in the film, three women who have made significant contributions to British Archaeology, have been deskilled, brushed aside, and in Guido’s case, infantilised. It should also be further noted, (implying an academic, vocational divide), that Suffolk Archives also hold Basil Brown’s own notebooks, complete with sketches, notes, technical drawings, soil observations, and watercolours of incredible detail.