Archivists on the Issues: “Sensitive documents”, NARA’s role in declassification, and contested spaces

Archivists on the Issues is a forum for archivists to discuss the issues we are facing today. Today’s post comes from Burkely Hermann, Metadata Librarian for the National Security Archive and current I&A Blog Coordinator. There will be spoilers for RWBY Season 2.

A Schnee Dust Company representative warns Weiss Schnee that there are “sensitive documents” on the list of files Weiss requested in a season 2 episode of RWBY

Recently, I was rewatching the young adult animated series, RWBY, and forgot that there is an episode including a scene where one of the protagonists, Weiss Schnee, a daughter of an unscrupulous company executive, requests files from her parent’s company, the Schnee Dust Company (SDC). In the season two episode, “A Minor Hiccup”, Weiss uses a computer terminal, which she accesses at a CCT (Cross Continental Transmit System) Tower, a prominent part of Beacon Academy, using her scroll on the elevator to access the upper level, Once there, she is helped by a communications operator, who patches her through to the SDC. Once at a terminal, she is greeted by the SDC employee who looks at her file list and states that some of records are sensitive. Weiss responds that she will treat the records “with care”, and without even a second question, her request is fulfilled. [1] The records are later used in an effort to figure out more of what the “low-level” villain, Roman Torchwick, is doing. The claim by Weiss about the sensitive records relates to a recent interview with lawyer James Trusty.

Trusty defended his well-known client, the former president, stating there were no classified documents at Mar-a-Lago, and implied that not turning over documents was “not a crime”. He then claimed his client was being politically targeted, declared that the Presidential Records Act is a “non-criminal statute”, and said civil litigation is the answer instead, among other statements. The comments by Trusty on national television and those by Weiss in RWBY relate to what I’ve written about before in regards to how classification works within NARA (National Archives and Records Administration), British Public Record Office, South African State Archives Service, National Archives of Korea, United Nations, and other U.S. government organs and non-U.S. institutions. The aforementioned comments by Weiss and Trusty connect to the reality of document classification within archives, which remains an important issue considering a recent U.S. Senate hearing on over-classification, with calls for “original classifiers to assign sunsets at the front end,” i.e. dates at which classification would expire automatically, along with other changes, as the Freedom of Information Act (FOIA) system remains thoroughly broken.

This is not a new issue, are classified records inherent to U.S. government institutions in many ways. For years, U.S. government agencies have been writing declassified institutional histories based upon the “still classified records of the services”, including about U.S. foreign relations. This is coupled with continuing complexities of record classification, leading to issues with obtaining access to “security-restricted records”. However, it can be bypassed thanks to sympathetic archivists or with the proper procedures in place. There have been cases in which classified records have been destroyed reportedly to “protect” operational security of U.S. military actions, even though the records should have been preserved. [2] This makes it clear that archives are not neutral, but are contested spaces instead, which is obvious for libraries, galleries, museums, and other institutions, but is also the case for archives.

There have been efforts to keep classified records intact and store them correctly. This has especially been the case after 1972 when the Archivist of the United States (AOTUS) became the center of government-wide policy-making in terms of research with classified records. Many years before, in March 1946, a National Archives appraiser, Philip C. Brooks, was worried about accepting “highly classified” records from the State Department about the Office of Strategic Services, due to the unknown size of the records being transferred, and had questions about record organization, issue of eventual declassification, and how these records would affect other transfers. Apart from the above-mentioned historical example, there have been instances in which researchers were denied from using classified records. On the contrary, declassification has been said to open up information for “intensive private historical research”. Some records at the U.S. state-level have also been classified, causing those in charge of the records to become declassifiers. [3]

In the past, the Pentagon had a room aside for storing classified records when agencies were reportedly under “extreme space pressures” as a result of World War II. This reality has only been reinforced by ever-present institutional resistance toward declassifying records for scholarly research due to a directive-of-sorts which instructs archivists to “guard” the security of classified records no matter what. This can involve classification for political purposes. [4] There have been evolving challenges from records classification and secrecy, archivists have opened older classified case files for historians, and declassification has become an important duty for NARA, especially since the 1970s. Further scholarship has focused on movement of classified materials, reviews of classified records by NARA, and continued pushes to declassify additional records. [5]

Recently, some have tried to differentiate between the different cases involving classified records involving the former president and President Biden, with Sharon L. Lynch of Reuters writing that neither president “should have had any classified material in their possession” and that such records should be in the “legal custody of the U.S. National Archives.” Lynch added that it is illegal to willfully or knowingly retain or remove classified material, and stated that failing to properly secure and store such material “poses risks to national security if it should fall into the wrong hands.” This has been so egregious in the case of the former president that one of his defense attorneys said the president used a folder with a classified marking to “block a light in his bedroom that kept him up at night”. The former president has further declared that he has the “right” to go through classified records which should have been handed over to NARA. In light of these recent scandals, some have called for NARA to adapt its protocols “around the handling of all classified documents” to prevent future scandals. [6]

All the while, there have been a defense of existing rules at the agency to safeguard records in opposition to those who state that there are too many rules, claims of “political bias”, questions about what NARA “knew” (or didn’t know) about classified records found at the office of the Penn-Biden Center, and laughable comments that such records were safer at Mar-a-Lago than at NARA. Others have praised the agency for its new agreement with the George W. Bush Foundation on a proposal to privatize the presidential library for George W. Bush by “transferring certain operations from NARA to the Bush Foundation” or called for a “revamping” at how the agency collects information, particularly classified information is Top Secret or Secret. [7] There have been broader comments about how it is fairly common to misplace classified documents (and “classified spillage” of documents outside “protected places”), and mentions of secure areas to view documents, known as SCIFs or Sensitive Compartmented Information Facilities. Other articles have stated that many public officials have shared classified papers over the years, with some rightly questioning whether too many documents are being classified, or saying that the existing classification system is “clunky”. [8]

This is important to note because archivists, especially those at NARA, have a key role when it comes to declassification. Former AOTUS David Ferriero said the agency has a leadership role in ensuring that millions of classified records are “declassified and made available for the people to inspect and for historians to mine”. Archivists are like Weiss in that they are dedicated to treat classified documents “with care”, but their access to the records is not based on family relation. When it comes to classified documents, archivists become guards. People cannot copy documents held by NARA “with uncancelled security classification markings” and there are specific procedures for copying formerly national security-classified documents.

Classified records need to be more readily available to the public through more-common (or even mass) declassification, something which requires archivists to maintain their roles as declassifiers. More public availability of records will clash with the impossible institutional push to remain “neutral”, as the institutions are contested instead of “neutral”. In any case, archivists are vital since the amount of records, especially classified records from government agencies, flowing into institutions like NARA is bound to increase in years to come.


Notes

[1] The person she talks with tells her that she can talk to her sister Winter or her father but she says that she doesn’t want to, and her smile almost becomes a frown, implying a bad/fraught relationship.

[2] Nelson, Anna. “Government Historical Offices and Public Records.” The American Archivist 41, no. 4 (1978): 407-408; Hill, Edward. “Reviews.” The American Archivist 36, no. 2 (1973): 237; Herschler, David and William Slany. “The ‘Paperless Office’: A Case Study of the State Department’s Foreign Affairs Information System.” The American Archivist 45, no. 2 (1982): 151-152; Robinson-Sweet, Anna. “Truth and Reconciliation: Archivists as Reparations Activists.” The American Archivist 81, no. 1 (2018), doi: 10.17723/0360-9081-81.1.23; Soyka, Heather and Eliot Wilczek. “Documenting the American Military Experience in the Iraq and Afghanistan Wars.” The American Archivist 77, no. 1 (2014): 188, 191.

[3] Angel, Herbert. “Archival Janus: The Records Center.” The American Archivist 31, no. 1 (1968): 9; Heaps, Jennifer. “Tracking Intelligence Information: The Office of Strategic Services.” The American Archivist 61, no. 2 (1998): 301-302; Peterson, Trudy. “The National Archives and the Archival Theorist Revisited, 1954-1984.” The American Archivist 49, no. 2 (1986): 131; Harrison, Donald F. “World War II: A Bibliography of Books in English, 1945-1965” [Review]. The American Archivist 34, no. 4 (1971): 388; Epstein, Fritz. “Washington Research Opportunities in the Period of World War II.” The American Archivist 17, no. 3 (1954): 226; Baumann, Roland. “The Administration of Access to Confidential Records in State Archives: Common Practices and the Need for a Model Law.” The American Archivist 49, no. 4 (1986): 360, 364-365, 367.

[4] East, Sherrod. “Archival Experience in a Prototype Intermediate Depository.” The American Archivist 27, no. 1 (1964): 46, 51; Marrow, Mary. “Moving An Archives.” The American Archivist 53, no. 3 (1990): 423-424; Cox, Richard. “Secrecy, Archives, and the Archivist: A Review Essay (Sort Of).” The American Archivist 72, no. 1 (2009): 220-224, 227, 230.

[5] Leopold, Richard. “A Crisis of Confidence: Foreign Policy Research and the Federal Government.” The American Archivist 34, no. 2 (1971): 143-144; Rositer, Margaret (ed. Brenda Beasley Kepleyand Sara L. Stone). “Understanding Progress as Process: Documentation of the History of Post-War Science and Technology in the United States. Final Report of the Joint Committee on Archives of Science and Technology” [Review]. The American Archivist 47, no. 3 (1984): 298; Newman, Debra L. (ed. Brenda Beasley Kepleyand Sara L. Stone)  “The Marcus Garvey and Universal Negro Improvement Association Papers, Volume I: 1826-August 1919…[and] The Marcus Garvey and Universal Negro Improvement Association Papers, Volume II: August 1919-August 1920” [Review]. The American Archivist 47, no. 3 (1984): 309; Weir Jr., Thomas E. “News Notes.” The American Archivist 41, no. 4 (1978): 485; Goggin, Daniel T. and Carmen R. Delle Donne. “News Notes.” The American Archivist 36, no. 4 (1973): 606-607; Dowling, F.P. “News Notes.” The American Archivist 39, no. 3 (1976): 398-399; Dowling, F.P. “News Notes.” The American Archivist 39, no. 1 (1976): 83-84; Goggin, Daniel T. and Carmen R. Delle Donne. “News Notes.” The American Archivist 36, no. 2 (1973): 289-290.

[6] Meola, Lexi and Robert Weiner, “Op/Ed: Better protocols needed to keep classified documents out of the wrong house,” Indianapolis Star, Apr. 7, 2023.

[7] “Strict Rules at the National Archives Preserve Treasures,” Wall Street Journal, Mar. 30, 2023; Johnson, Ron, and Chuck Grassley. Electronic. “Sens. Ron Johnson and Chuck Grassley Ask About Review of Classified Records By FBI and NARA.” Electronic, March 27, 2023 (also see here); “Fox’s Mark Levin: Classified documents are “safer at Mar-a-Lago” than “at the National Archives”,” Media Matters, Apr. 3, 2023; Rigby, David. “Petty Tyranny at the U.S. National Archives,” Wall Street Journal, Mar. 23, 2023; Quinn, Melissa and Arden Farhi, “National Archives says it retrieved nine boxes of Biden records from ex-personal attorney’s Boston office.” CBS News, Mar. 9, 2023; x, Connelly, Gerry. “Chairs Maloney, Connolly Issue Statements on Revised Agreement Between the National Archives and George W. Bush Foundation.” Nov. 16, 2022; Jacobson, Sheldon H. “Do classified document revelations highlight problems at the National Archives?The Hill, Jan. 30, 2023.

[8] Waxman, Olivia B. “Classified Documents Get Misplaced All the Time. A Former National Archives Official Explains Why,” Time, accessed April 9, 2023;Herb, Jeremy, , and , “‘I had to sleep with that document’: How the government tries to prevent classified government documents from spilling out,” CNN, Jan. 24, 2023; House, Billy. “Kissinger, Albright Among Officials Who Shared Classified Papers,” Bloomberg News, Mar. 9, 2023; Lopez, German. “Too Many Top Secrets,” New York Times, Jan. 27, 2023; “What Biden’s Documents Reveal About the Confusing Classification System,” Time, accessed Apr. 9, 2023;

Archivists on the Issues: Fictional Archivists Out in the Open

Archivists on the Issues is a forum for archivists to discuss the issues we are facing today. Today’s post comes from Burkely Hermann, Metadata Librarian for the National Security Archive and current I&A Blog Coordinator. There will be spoilers for each of the books, animated series, films, and other media he will be discussing.

Eight examples of archivists in fiction
Eight archivists-of-sorts in fiction. Top row, from left to right: Archie the Archivist (Regular Show), Jocasta Nu (Star Wars), Sunati (Always Human), Russ (Be Cool, Scooby Doo!). Bottom row from left to right: Unnamed archivist / records clerk (My Dictator Boyfriend), Atropos (Lore Olympus), Clotho (Lore Olympus), and Clark (Joker)

In January 2018, Cate Peebles wrote about examples of archives in popular culture, specifically in true crime documentaries. In her post, on this blog, she argued that archivists are missing in “moments of recognition” and said that representations of actual archivists are “few and far between”. She concluded that no popular image of an archivist exists, but that archivists are “more present than ever” even if unseen, adding that “without records and their keepers, there are no stories to tell.” In this article, I’d like to highlight some examples of fictional archivists that I’ve come across through the years, especially since starting my WordPress blog on the subject.

For one, there are some characters who who merge characters of archivists and librarians. This includes a reference librarian who manages a Yale University Library room which combines elements of archives and libraries into one institution in Can You Ever Forgive Me? (2018) and a character who is almost an archivist, named Archie the Archivist (voiced by John Cygan) in Regular Show. In the latter case, Archie works in a library and becomes a guardian to protect analog data, which could have some parallels to archivists as keepers of information.

Similarly, there’s Madame Jocasta Nu in Star Wars, specifically in Attack of the Clones and the Star Wars: The Clone Wars animated series. She is played by Alethea McGrath in the film and voiced by Flo Di Re in the animated series. Madame Nu is described as a librarian and archivist, but seems to manage a library-archives hybrid known as the Jedi Archives, within the Jedi Temple. She is best-known for declaring, in Attack of the Clones, that “if an item does not appear in our records, it does not exist,” an arrogant and untrue statement which ignores reality of archives as memory institutions and their role in society. Madame Nu differs fundamentally from the unnamed librarian in the dark, haunting Thatcher Memorial Library shown in a scene of Citizen Kane (1941). The librarian in the latter has been described as one of the world’s meanest archivists. Played by Georgia Backus, she has her hair tied up in a bun and has “an intimidating stare on her face”, acting as a “real dragon lady at the gates of knowledge.” This is not the type of archives you want to go to! It is not the image which should be projected.

There are various archivists, of sorts, in other media. For instance, in the webcomic, Always Human, Rae, a friend of the protagonist, Sunati, dreams of becoming an archivist and fulfills this dream during the run of the comic. More directly, an episode of Be Cool, Scooby-Doo!, entitled “Silver Scream”, features Russ, a young film archivist who works in a film archive room and is a bit eccentric. Other archivists appear in issues of the popular webcomic Lore Olympus in 1980s style dress, helping characters who request records about their past memories, or in the webcomic My Dictator Boyfriend. In the latter case, the archivist/records clerk is manipulated to write a birth form for the ruler’s wife, Anna, even though the son isn’t even born! [1]

There are other prominent depictions. For one, there is a records clerk, named Clark (played by by Brian Tyree Henry), who brings out a medical hospital record for Arthur Fleck in Joker (2019). However, Fleck, who later becomes the Joker, steals the record from the clerk because he hasn’t filled out the appropriate paperwork to take the file with him. Then there’s the well-known depiction of a classy archivist named Abigail Chase (played by Diane Kruger) who appears in National Treasure (2004) and National Treasure: Book of Secrets (2007). It is a depiction which has been oft discussed by archivists. Archivists also make an appearance in former webcomics like Power Ballad, and currently running ones like Brimstone and Roses.

There are many more examples, like supposed newspaper archivist (and former newspaper reporter) in the animated series, Stretch Armstrong, who has a newspaper archives in his basement. He declares in one episode, “some say I’m packrat, archivist I say!” Even The Simpsons has a character who runs the Springfield Historical Society, in the episode “Lisa the Iconoclast” which could be called an archivist. Rapunzel’s Tangled Adventure, otherwise known as Tangled: The Series, features, along with other archivy themes, a keeper of a museum, known as The Spire, named Calliope (voiced by Natalie Palamides). She is a scholar who does magic tricks and has a messy library. Most recently, a character named Arizal (voiced by Christine Marine Cabanos) is the protagonist of Recorded by Arizal. She puts together vlogs explaining why she wants to be a record keeper, often another name for an archivist.

However, very few, if any, of these archivists have any professional training. Furthermore, some are archivists in name only, or are confused with librarians. Current fictional depiction of archivists is not very positive. After all, there are even books that depict archivists are villains, or others in which archivists which rarely appear. [2] While there are recent webcomics like Vowrune, Fluidium, and Don’t Look at the Sky which feature archives, none of them depict archivists. There has not been, that I’m aware of, any characters which accurately depict an archivist. Surely, there is prevalence of archival source material in “popular recent true crime docuseries” like The Keepers, The Jinx, and Making a Murderer as Cate Peebles noted in 2018, but no archivists.

Often scholars have focused on the role of Star Wars when it comes to depictions of archives, and archivists. [3] Others, such as Gianni Penzo Doria, director of State Archives of Venice, have gone broader, noting archival themes in many films, such as Brazil (1985), Blade (1998), Julie & Julia (2009), Fail Safe (1964), Philadelphia (1993), and Erin Brockovitch (2000). Doria further argued that role of the archivist is lost in common perceptions, with “boring old stereotypes” and “poor visibility” of archives, with archivists becoming caricatures, rather than protagonists. He also states that in film archives are only respected when they are seen as a “sacred place” which preserves “memory of its creator and guarantees accountability and citizens’ rights”, but that archivists are not shown in those films. [4] In the preface to Doria’s book, Micaela Procaccia, president of National Association of Italian Archives (ANAI), urged archivists to make an effort to “spread awareness of the central role of their work and their professional skills in society.” His words ring true.

Others have rightly noted that many of the depictions of archivists “reinforce stereotypes that surround the profession”, including in National Treasure. Nuances in the archival field are often lost in popular depictions. Kyle Neill, a Senior Archivist at the Peel Art Gallery, Museum and Archives, has focused on this in his posts on such depictions over the years, as have others. [5] Additional scholars have focused on reel archivists and themes of records, and archives, in espionage fiction. In the case of the former, this included arguments that film images of archivists can be negative to archivists and a risk to the profession, causing negative effects on archival professional identity and may result in potential researchers having “negative connotations about archives and archivists.” For the latter, in such fiction, information is power, with stories often stating that documentation can reconstruct someone’s personal identity and career, and compiling a large amount of information to learn about their enemy, while events and personal information are intertwined. Unsurprisingly, in such stories, archives are shown as repositories of institutional memory, even if they do not focus on the dilemmas that archivists face when torn between their duty to their employer and their duty to society. [6]

Additional scholars have reviewed films, novels, and TV series, finding common themes. Karen Buckley, in fall 2008, argued that these popular culture medium had stories, with archives and records, which equated protection of truth to protection of a record, made archival experiences interior and archival spaces closed, had lost or buried archives, or stated that information within records centers around “the search for self or truth.” This inevitably leads into a strong division between real and fictional archives. [7] Arlene Schumland went further, studying images of archives and archivists “based on a reading of 128 novels”, examining how these novels disseminate and perpetuate “many stereotypes of the archival profession.” Others followed suit, examining issues surrounding the “image and stereotypes of archivists as presented in films”, and arguing that archivists in those films “follow generally accepted stereotypes.”

While archives, and archivists, continue to be portrayed poorly, and inaccurately, in fiction, in Star Wars and beyond, it remains important for archivists to tell the truth about the profession. This can, and should, go hand-in-hand with fights for unionization, better working conditions, and recognition, in order to make clear that archival work remains vital in this day and age.

Notes

[1] Hermann, Burkely. “Libraries, records, and Kore: Archives on Mount Olympus.” Wading Through the Cultural Stacks, Nov. 28, 2020; Hermann, Burkely. “Popular culture and the duties of archivists.” Wading Through the Cultural Stacks, Feb. 27, 2021; Hermann, Burkely. “Evil Anna and How I Learned to Love Archival Manipulation.” Wading Through the Cultural Stacks, Apr. 3, 2021.

[2] This includes archivists in the webcomics Heirs of the Veil and Leif & Thorn. There’s also a librarian named Emily Quackfaster who appears in an episode of DuckTales but works in a library. If you squinted, you could see Theoda and Pothina, who are two researchers who work at the Savior Institute, in Cleopatra in Space, as archivists, or George and Lance in She-Ra and the Princesses of Power. There’s also Mystique, otherwise known as Raven Darkhölme, who lost contact with her friend Destiny (also known as Irene Adler), who she found “working as an archivist in the Alamogordo nuclear research facilities in New Mexico.” Additionally, a solo archivist / lone arranger named Filis appears in bonus material for the live-action TV series, Ultraman Taiga, while multiple episodes of Vatican Miracle Examiner feature an archivist.

[3] Personally, I have been focusing on Star Wars more myself, with recent posts positing that R2-D2 may be an accidental archivist, restricted records and record seizure in Star Wars Rebels, and an upcoming post about an archivist, in name only, in Star Wars Crimson Reign. There were also category on Wookieepedia for “archivists” in Star Wars, although it is hard to know how many are actually archivists.

[4] Doria, Gianna Penzo. Asterix, the Others, and the Archives: The Cinema perception of the archival profession (Bolgana, Italy: Filodiritto, 2022), 7, 16, 30, 32-39, 46-47, 52-58, 76.

[5] “Archivists in the Movies.” Dispatches from the Field, Aug. 4, 2006; “Thankful Archivist.” New Archivist, Nov. 24, 2009; Eagan, Daniel. “Film vs. Digital: Archivists Speak Out.” Smithsonian, May 2, 2012; “Badass Archivists in Television and Movies: a Really Short List.” The Society of American Archivists – UW Madison Student Chapter, Oct. 27, 2013; Lucy, Catherine. “A Critical Response to The Archivist (2015).” Solo, May 3, 2018. There are additional archivists who focused on archival themes in Paddington (2014) and use of archival records in comic books.

[6] Anne Daniel and Amanda Oliver. “Seeking an Identity: The Portrayal of Archivists in Film.” Archives Society of Alberta Conference, Spring 2014; Gillis, Peter. “Of Plots, Secrets, Borrowers, and Moles: Archives in Espionage Fiction.” Archivaria 9 (1979-80): 1, 5-8, 12-13. On page 13, Gillis writes that archivists have to temper a desire for secrecy and suppression with “the needs of research and scholarship”.

[7] Buckley, Karen. “‘The Truth is in the Red Files’: An Overview of Archives in Popular Culture.” Archivaria 66 (2008): 95-123.