Representing Archaeology

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ID: 322040
2026
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Abstract
Abstract China has seen an explosion in public interest in archaeology over the past decade, fuelled less by archaeologists’ own attempts to engage with non-specialist audiences and more by the slew of films and shows in the tomb robbing genre. Originating with the hugely successful web novel Ghost Blows Out the Light, the genre’s popularity is attributed to the combination of action, mystery, and horror elements. Archaeologists are concerned that tomb robbing productions falsely represent archaeology and even encourage the theft of artefacts, representing a significant threat to the protection of China’s heritage. This chapter analyses the representation of archaeology and archaeologists in tomb robbing films and series. It argues that writers and directors are essentially packaging pure fiction in an archaeological parcel. Within the broader context of China’s media censorship system, archaeology provides a legitimate explanation for characters’ actions that would otherwise contravene laws on the representation of criminal activity or the supernatural. Further complicating this are popular nationalist trends, to which the genre caters by reinforcing official histories and China’s territorial claims. Featuring border regions with large ethnic minority populations serves to other local populations in ways similar to Indiana Jones or Tomb Raider in Western popular media. Top-down regulation is unlikely to be effective in improving how archaeology is portrayed. For now, the burden must fall on archaeologists to be vocal in their critiques, while studios should endeavour to ensure responsible, accurate representations of archaeology.
Reference Key
openalex_W7170092207 Use this key to autocite in the manuscript while using SciMatic Manuscript Manager or Thesis Manager
Authors Rebecca O’Sullivan
Journal Oxford University Press eBooks
Year 2026
DOI
10.1093/oxfordhb/9780197800324.013.0051
URL
https://doi.org/10.1093/oxfordhb/9780197800324.013.0051
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