Too little is known about the effects of archaeology policy, which makes it difficult to evaluate and adjust the policy on the basis of rational arguments. We simply do not have enough hard evidence. As a result, policy development depends largely on subjective factors such as instinct, vision and expert judgment. A well-balanced assessment of policy – something both politicians and the public would very much like to see – is therefore impossible. To help fill the gap, targeted research is now being conducted into the effects of policy. This article outlines the findings of the report Archaeology in the Netherlands 2002: the national archaeological review and outlook, which was presented to the government of the Netherlands.

For over a century prehistorians have approached the engraved stone plaques of the Iberian late Neolithic and Copper Age (3000–2500 BC) from a monolithic and idealist perspective, viewing the plaques as representations of the Mother Goddess. Most have not addressed the plaques' variability, their method of manufacture, the organization of their production, or their biographies. This article presents new interpretations of the Iberian plaques based on the first comprehensive on-line catalogue of the plaques – the Engraved Stone Plaque Registry and Inquiry Tool (ESPRIT) (Lillios 2004) – which holds records for over 1100 plaques, each unique, from over 200 sites in Portugal and Spain. Analyses of the plaques' raw material, style, chaîne opératoire, and distribution over space suggest that different plaque types had different functions and meanings, which shifted over time. Two plaque types: the Classic plaques and the Biomorphic Simple plaques are considered in this article. In their diverse forms, the Iberian plaques appear to have been durable records of regional and local group identities and could have contributed toward legitimating and perpetuating an ideology of inherited social difference in the Iberian late Neolithic and Copper Age.

This article looks at the depiction of archaeology and archaeologists in popular cinema. A number of key films are discussed to address the article's main themes of cultural appropriation and contested ground (encompassing treasure, the public, politics and gender). Archaeology in film cannot be divorced from the wider cultural contexts in which it operates and, though portrayals of archaeology and archaeologists are frequently unsatisfactory, a positive conclusion is attempted which seeks to understand the narrative drive of popular fiction and a long history of public exclusion from archaeology. Most of the films considered do not warrant labelling as great works of art, but they are part of a cultural form with perceptions to offer, able to stimulate debate within a vital framework of cultural practices by which identity – individual and social – is constructed and evolved.

This article considers the results of an analysis undertaken on pottery recovered mostly from multi-phase Iron Age sites in the Trans-Urals region of Russia. It focuses on a particular project involving fieldwork and the subsequent analysis of archaeological contexts and the laboratory studies of pottery morphology, ornamentation, technology, and statistics, with an attempt to apply the concept of style. This type of research project is unusual for Russian ceramic studies and the article begins with a consideration of the formal typological approach to the study of artefacts, which is a traditional aspect of Russian archaeology and is still the primary focus of many research programmes.