Lorna-Jane Richardson is a Lecturer in Digital Humanities and Heritage in the School of Art, Media & American Studies, University of East Anglia.Andrew Reinhard is a Research Affiliate at New York University’s Institute for the Study of the Ancient World and is also a CRM Project Director for Metcalf Archaeological Consultants.Nicole Smith is a Lecturer in Museum Education at the University of Glasgow, UK.

• Introduction; Part I: Still Images, Moving Pictures, and Interactive Digital Spaces – 1. Archaeology and Photography in the Pre-Digital Age: The View from the American Southwest; 2. Imagined Realities: A Comparison of Fictional Representations of Graffiti in Pandemic Cinema and Graffiti Archaeology during the COVID-19 Pandemic; 3. Victorian Popular Culture in Twenty-First-Century Archaeological Media; 4. Archaeology on South African Screens and Prospects for the Future: A Case Study on Shoreline (2009); 5. Chinese (Pseudo)Archaeology on Television: A Daomu Biji Case Study; 6. Between Academia and Popular Culture: The ‘Tomb Robbing’ Media Genre in Mainland China and Its Impact on Popular Perceptions of Archaeology; 7. Film, Archaeology and the Evolution of the i-Doc; 8. Archaeogaming: The State of the Field in 2022; 9. Playing in the Past: Visualising Living and Immersive Past Worlds; 10. Indiana Jones in Videogames – Depicting Archaeology as Colonial Practice; 11. Decomposing Images: Locating Materiality, Creativity and Agency in the Early Years of Archaeological Immersive Media Practice; Part II: Ethics and the Internet – 12. Wikipedia and Archaeology; 13. Heritage, Journalism, and Moral Panic: Media Framing of the Looting of Iraqi and Syrian Antiquities; 14. Comedy = Tragedy + Time: The “Meme-ification” of Archaeological Human Remains; 15. Digital Identities: Memes and Engagements with Human Remains on Instagram; 16. Settlers to Solutreans: Alternative Archaeologies, Media, & Anti-Indigenous Violence; Part III: Public Archaeology – 17. How to Provide Outreach That Is in Reach: An Examination of Trends towads Multivocality and Accessibility in Digital Public Archaeology; 18. Physically Distant but Socially Connected: Archaeology at Home in the Time of COVID-19; 19. Enchanting Images: Co-Creative Practice for Image-Making in Community Archaeology; 20. The Promotion of Sudanese Archaeological Heritage through Documentary Films and Digital Media; 21. Museum and Digitization in the Aftermath of Colonialism in Southern Africa; 22. Turkish Scientific Journalism and Its Approach to Göbekli Tepe; Index.

Lorna-Jane Richardson is a Lecturer in Digital Humanities and Heritage in the School of Art, Media & American Studies, University of East Anglia.Andrew Reinhard is a Research Affiliate at New York University’s Institute for the Study of the Ancient World and is also a CRM Project Director for Metcalf Archaeological Consultants.Nicole Smith is a Lecturer in Museum Education at the University of Glasgow, UK.

• Introduction; Part I: Still Images, Moving Pictures, and Interactive Digital Spaces – 1. Archaeology and Photography in the Pre-Digital Age: The View from the American Southwest; 2. Imagined Realities: A Comparison of Fictional Representations of Graffiti in Pandemic Cinema and Graffiti Archaeology during the COVID-19 Pandemic; 3. Victorian Popular Culture in Twenty-First-Century Archaeological Media; 4. Archaeology on South African Screens and Prospects for the Future: A Case Study on Shoreline (2009); 5. Chinese (Pseudo)Archaeology on Television: A Daomu Biji Case Study; 6. Between Academia and Popular Culture: The ‘Tomb Robbing’ Media Genre in Mainland China and Its Impact on Popular Perceptions of Archaeology; 7. Film, Archaeology and the Evolution of the i-Doc; 8. Archaeogaming: The State of the Field in 2022; 9. Playing in the Past: Visualising Living and Immersive Past Worlds; 10. Indiana Jones in Videogames – Depicting Archaeology as Colonial Practice; 11. Decomposing Images: Locating Materiality, Creativity and Agency in the Early Years of Archaeological Immersive Media Practice; Part II: Ethics and the Internet – 12. Wikipedia and Archaeology; 13. Heritage, Journalism, and Moral Panic: Media Framing of the Looting of Iraqi and Syrian Antiquities; 14. Comedy = Tragedy + Time: The “Meme-ification” of Archaeological Human Remains; 15. Digital Identities: Memes and Engagements with Human Remains on Instagram; 16. Settlers to Solutreans: Alternative Archaeologies, Media, & Anti-Indigenous Violence; Part III: Public Archaeology – 17. How to Provide Outreach That Is in Reach: An Examination of Trends towads Multivocality and Accessibility in Digital Public Archaeology; 18. Physically Distant but Socially Connected: Archaeology at Home in the Time of COVID-19; 19. Enchanting Images: Co-Creative Practice for Image-Making in Community Archaeology; 20. The Promotion of Sudanese Archaeological Heritage through Documentary Films and Digital Media; 21. Museum and Digitization in the Aftermath of Colonialism in Southern Africa; 22. Turkish Scientific Journalism and Its Approach to Göbekli Tepe; Index.

Lorna-Jane Richardson is a Lecturer in Digital Humanities and Heritage in the School of Art, Media & American Studies, University of East Anglia.Andrew Reinhard is a Research Affiliate at New York University’s Institute for the Study of the Ancient World and is also a CRM Project Director for Metcalf Archaeological Consultants.Nicole Smith is a Lecturer in Museum Education at the University of Glasgow, UK.

• Introduction; Part I: Still Images, Moving Pictures, and Interactive Digital Spaces – 1. Archaeology and Photography in the Pre-Digital Age: The View from the American Southwest; 2. Imagined Realities: A Comparison of Fictional Representations of Graffiti in Pandemic Cinema and Graffiti Archaeology during the COVID-19 Pandemic; 3. Victorian Popular Culture in Twenty-First-Century Archaeological Media; 4. Archaeology on South African Screens and Prospects for the Future: A Case Study on Shoreline (2009); 5. Chinese (Pseudo)Archaeology on Television: A Daomu Biji Case Study; 6. Between Academia and Popular Culture: The ‘Tomb Robbing’ Media Genre in Mainland China and Its Impact on Popular Perceptions of Archaeology; 7. Film, Archaeology and the Evolution of the i-Doc; 8. Archaeogaming: The State of the Field in 2022; 9. Playing in the Past: Visualising Living and Immersive Past Worlds; 10. Indiana Jones in Videogames – Depicting Archaeology as Colonial Practice; 11. Decomposing Images: Locating Materiality, Creativity and Agency in the Early Years of Archaeological Immersive Media Practice; Part II: Ethics and the Internet – 12. Wikipedia and Archaeology; 13. Heritage, Journalism, and Moral Panic: Media Framing of the Looting of Iraqi and Syrian Antiquities; 14. Comedy = Tragedy + Time: The “Meme-ification” of Archaeological Human Remains; 15. Digital Identities: Memes and Engagements with Human Remains on Instagram; 16. Settlers to Solutreans: Alternative Archaeologies, Media, & Anti-Indigenous Violence; Part III: Public Archaeology – 17. How to Provide Outreach That Is in Reach: An Examination of Trends towads Multivocality and Accessibility in Digital Public Archaeology; 18. Physically Distant but Socially Connected: Archaeology at Home in the Time of COVID-19; 19. Enchanting Images: Co-Creative Practice for Image-Making in Community Archaeology; 20. The Promotion of Sudanese Archaeological Heritage through Documentary Films and Digital Media; 21. Museum and Digitization in the Aftermath of Colonialism in Southern Africa; 22. Turkish Scientific Journalism and Its Approach to Göbekli Tepe; Index.