“Gold Farmers“ A documentary film written & directed by Ge Jin Trailer embedded above. Search here for the whole film (sometimes uploaded in parts) online.
Travelling between China and USA, filmmaker Ge Jin talks to men who play Massive Multiplayer Online Role Playing Games (MMORPGs) like ‘World of Warcraft’ and ‘Lineage’. Its players in the USA sometimes exchange real dollars for the game’s online currency in order to pay for extra game features like swords or amulets. They could earn online currency themselves in-game but, instead, talk about buying it. But that currency is produced and sold by Chinese men who play the same games all day in ‘gold farms’ to make a meagre living. Their places of work are described as ‘virtual sweatshops’ where they earn and sell virtual money through the labour of online game-play. But – unlike most – these producers and consumers meet and interact (albeit online, in the games that they play). They inhabit in the same online worlds, but as consumers and workers, buyers and sellers. This documentary film is an early example of ‘follow the thing’ activism focused on a digital commodity. So what do these players imagine and know about one another? How is one’s enjoyable leisure time activity affecting another’s full time work?
Page reference: Jack Parkin (2012) Gold Farmers (taster). followthethings.com/gold-farmers.shtml (last accessed <insert date here>)
“Dow Vs Bhopal: A Toxic Rap Battle“ A music video by Sofia Ashraf published on YouTube. Embedded in full above.
Chennai rap musician Sofia Ashraf’s Nicki Minaj-sampling protest song ‘Kodakainal Won’t’ goes viral on YouTube in 2015, drawing attention to a Unilever factory in India dumping mercury into the environment. A year later, she releases this video to draw attention to the most notorious industrial disaster in Indian history: an explosion at the Union Carbide pesticide factory in Bhopal in 1984 which released poisonous gas that killed more than 15,000 people and sickened over half a million more. A campaign has been running ever since for the victims to be compensated and the toxic legacy of the explosion to be cleaned up, even after Union Carbide was bought by Dow Chemical. Ashraf revived a rap written and performed in 2008 to support an NGO petition to the US Government’s Department of Justice to hold Dow Chemical to account. If the petition reaches 125,000 signatures, the DoJ is obliged to respond. In the video, Ashraf performs both sides of the argument as she sees it: the Indian activist side calling Dow Chemical to account, and the US government’s disdainful approach to those demanding compensation. The video encourages people to sign the petition. The 125,000 goal is reached. But what does this unlock? What can protest music do for trade justice activism?
Page reference: Nicole Sparks, Ginny Childs, Allie Short, Kat Cook, Lauren Warner & Sophie Wolf (2016) Dow Vs Bhopal: A Toxic Rap Battle (taster). followthethings.com/dow-vs-bhopal-a-toxic-rap-battle.shtml (last accessed <insert date here>)
“A Week In A Toxic Waste Dump“ A documentary film presented by Reggie Yates, produced by Harriet Morter for BBC TV. Available in full above (with ads). Available on the BBC’s iPlayer platform without ads (with login) here. Search online for streaming options here.
Agbogbloshie is a notorious e-waste dump on the outskirts of Accra, the capital city of Ghana. It’s where Western electronics ‘go to die’. It’s where migrant workers from the North of Ghana move to take up low paid and dangerous work recycling this waste. They recover valuable scrap metals like copper from discarded electrical devices, most famously by burning the plastic or rubber coatings from their wires. The smoke is acrid, poisonous. Processing this waste here has polluted the soil, the water table, the air, and the health of the people who work and live here. It’s a textbook case of the evils of Western consumption. In terms of toxic landscapes, some say, Agbogbloshie is in the same league as Chernobyl. In 2017, Reggie Yates (a British Radio and TV celebrity with Ghanaian heritage) spends a week here. It’s for an episode of a documentary TV series in which he tries to understand the lives lived by people less fortunate than himself by living with them for a week, doing the work that they do, sleeping where they sleep, eating what they eat, and being followed around by a film crew to capture every moment. In Agbogbloshie, he gets to know a group of ‘burner boys’ who are in their 20s called Razak, Awal, Yahro Muhammed and their chief. They show him what they do, burning the plastic off wires, dousing the bright orange flames in puddles of water in the mud, bagging up the bare copper, and selling it on for pennies. As Reggie gets to know these young men, he starts to care about them, becomes concerned about how they can support their families, and their children, on such low wages earned from work that will shorten their lives. They have serious health problems already. He wants viewers in the UK to feel culpable. Most don’t have a clue where their discarded electrical devices go to die. And the damage that this waste can do to people less fortunate than them in poorer countries. Like these ‘burner boys’ in Ghana. Lots of Western journalists and photographers have visited Agbogbloshie to tell this same story. Many seem to have met Razal, Awal, Yahro and Muhammed. They’ve acted as fixers, helping these visitors to tell the story they have heard about by providing testimony and burning plastic and rubber in photogenic ways. People who are in touch with the ‘burner boys’ say that they appreciated Reggie’s efforts to muck in, they thought he was cool. But waste academics in Ghana and overseas, as well as local commentators, have a problem with this story that Reggie and everyone else visits to tell. It’s one of those narratives of exploitation that has a questionable origin, quickly becomes iconic, and attracts visitors to tell ready-made versions of it over and over again. It’s a trope. Bad things happen in the Global South. Impoverished workers are suffering. Unthinking consumers in the global North are responsible for this. The media tells the story using authentic found characters with whom a celebrity presenter is able to spend time and to empathise. The audience is invited to empathise with the presenter empathising with the found characters. This encourages powerful emotional and practical responses, debates about the causes of the problem – like capitalism – potential solutions – like an industrial waste plant – and problems with the potential solutions – the ‘burner boys’ would suffer. But what if researchers and on-the-ground commenters reported that Agbogbloshie is quite a small dump, and that the e-waste processed there was mainly from Ghana? There’s next to nothing about the international waste supply chain in this film. What if the dump had been demolished in 2021, partly because of the toxic reputation that these repeated media exposés had given the place? And what if most of the online debate about this documentary had taken place two or three years after the dump had closed? Reggie’s documentary was published on YouTube in 2023 and 2024: giving it a worldwide audience that it had never originally had but also generating a huge fuss about a place that no longer existed. Everyone seem to agree that Reggie is cool, a genuinely empathetic person, but why didn’t the team behind his film seem to have done their homework? A very different story could – and maybe should – have been told.
Page reference: Lucian Harford (2025) Ghana: a Week In A Toxic Waste Dump. followthethings.com/ghana-a-week-in-a-toxic-waste-dump.shtml (last accessed <insert date here>)
“Waste Land“ A documentary film starring Vik Muniz, soundtrack by Moby, directed by Lucy Walker for Almega Projects & 02 Films. Trailer embeded abive. Search online for streaming options here.
“When we throw out rubbish, it is easy to assume that it somehow vanishes. In fact, of course, it largely goes to landfill sites such as Jardim Gramacho in Rio De Janeiro: the world’s biggest dump, a huge, undulating, foul-smelling, seagull-covered landscape of garbage which is home to about 3,000 people, who work all day picking out material that can be sold on to commercial recycling companies. Uneaten food found there is gratefully consumed. [Director] Walker follows [Brazilian-heritage, New York based artist Vik] Muniz as he works on a project creating portraits of the pickers, using the materials from this site, which will be sold at auction, with the profits going to the pickers themselves, or rather their representative campaigning group” (Source: Bradshaw 2011, np link).
Page reference: Ian Cook et al (2024) Waste Land (holding page). followthethings.com/waste-land.shtml (last accessed <insert date here>)
“Ahava Stolen Beauty“ An activist campaign organised by CODEPINK Women For Peace. 12 video YouTube playlist compiled by the US Campaign for Palestinian Rights embedded above shows protests taking place at multiple sites selling Ahava products in Canada, USA, The Netherlands, Israel & France. Click here for more footage of campaign protests and explainer videos. Click here for Code Pink’s ‘Ahava Stolen Beauty’ campaign website.
After the aftermath of Israel’s invasion of Gaza in 2008-9, members of the American women-led grassroots peace and human rights organisation CODEPINK visit a factory on the bank of the Dead Sea which makes cosmetic products from its salts and minerals on occupied Palestinian land. According to the Geneva Convention, occupying forces cannot take or profit from the natural resources of an occupied territory. Sold in department stores, spas and Ahava stores around the world, Ahava products are stamped as ‘Made in Israel’. Critics say that the company’s profits support the illegal settlement where the factory is based. So CODEPINK encourage women are concerned about beauty and disgusted by the occupation to use their consumer power to boycott Ahava products, and to use their citizen power to protest at their sites of sale (in bikinis and bathrobes to attract attention). When the US arm of Ahava later launches an #ahavareborn rebrand campaign on twitter and asks for suggestions, critics pile in with sarcastic slogans about aspects of the occupation that Ahava products can help to conceal or wash away. As the boycott gathers momentum, supporters of Israel criticise it – and the wider Boycott, Divestment & Sanctions (BDS) movement that it became part of – as antisemitic, and pro-Israel consumers start counter-campaigns, buycotts, encouraging people to buy as many Ahava products as they can from targeted stores. But, despite this, Ahava stores shut, retailers refuse to stock Ahava goods, governments pass legislation forbidding ‘Made in Israel’ to be printed on goods produced in occupied Palestinian territories and, eventually, Ahava moves its factory to an unoccupied site. To add to this mix, laws forbidding the boycotting of ‘Made in Israel’ goods are passed around the world. This is an epic, controversial example of effective trade justice activism. The message was simple: there was no beauty in occupation. The repercussions of this actvism are with us today
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Page reference: Ian Cook et al (2024) Ahava Stolen Beauty (taster). followthethings.com/ahava-stolen-beauty.shtml (last accessed <insert date here>)
“Where Heaven Meets Hell“ A documentary film produced by Sasha Friedlander for Sasha Films LLC & Independent Television Service Trailer embedded above. Search for online streaming here. Track down a DVD copy here.
Filmmaker Sasha Friedlander visits a stunningly beautiful active volcano in Indonesia called Kawa Ijen. Heaven. It’s a place that loads of tourists visit to take photos of this bubbling cauldron of toxic sulphur gas. They’re also shocked and amazed to see men emerging out of these sulphur clouds carrying on their shoulders baskets containing blocks of raw yellow sulphur, mined hot from the volcano’s insides. This is unbelievably picturesque, hard and dangerous work (physically and chemically). Some say it’s a vision of hell. Friedlander sticks around, her tiny crew following the sulphur miners down into the volcano to better understand the work that they do, their lives and their reasons for doing a job that’s clearly so poorly paid and so extraordinarily hazardous to their health. Making this film is hazardous to the filmmakers’ health too. They struggle with their working conditions. This film they make provides intimate portraits of four men who do this work and their families. Audiences are moved by what they see. It’s beautiful and horrific. Friedlander returns to the village where most of the miners live to show the film to their families. That’s filmed too. They’re shocked. The men hadn’t told their families what their work was like. Some commenters say that workers unhappy with their jobs should get a safer and better paid job somewhere else. They’ve ‘chosen’ to work there. This film shows why making a different ‘choice’ is not as easy as it sounds. Where Heaven Meets Hell follows the journey of sulphur up and out of the Kawa Ijen volcano, to the cabins where the miners get paid for it by weight. But that’s as far as the following goes. Sulphur (and its derivatives) can be found in countless commodities and the processes used to make them – e.g. it’s used to refine sugar, and its an essential ingredients of matches – because it brings specific properties that producers and consumers rely upon. Where Heaven Meets Hell is an excellent example of a follow the thing project that ‘starts somewhere different’. It doesn’t start or end at a factory, for example. Those followings can be nice and linear, easy to trace, easy to convey to an audience. But starting in a place where a raw material is extracted from the earth presents a different view of international trade. So many raw materials like sulphur travel along countless supply chains, and become ingredients in countless industrial processes and commodities. Following raw materials can be much, much more complex. The supply chains of something basic like sulphur can infiltrate so many other supply chains, so many other things, so many other places and lives. This means that any trade justice ‘solutions’ that audiences might want to support are from straightforward. Try boycotting sulphur! Start by looking for sulphur compounds on ingredient labels. That’s the top of the volcano.
Page reference: Ian Cook et al (2016) Where Heaven Meets Hell. followthethings.com/where-heaven-meets-hell.shtml (last accessed <insert date here>)
“The Oil Road: Journeys From The Caspian Sea To The City Of London” A non-fiction travelogue by James Marriott & Mika Minio-Paluello, published by Verso. Google Books preview embedded above.
‘Oil corporation resisters’ James Marriott and Mika Minio-Paluello travel the length of the Baku-Tbilisi-Ceyhan (BTC) oil pipeline which carries crude oil from Azerbaijan’s Caspian Sea oilfields to refineries in Europe and, from there, into the region’s cars, buses & other oil-burning machines. They find this oil’s human stories, secret places and complex connections, and companies and governments that don’t want them to be revealed. They investigate how British Petroleum – which operates and co-owns it – wields incredible power over the governments of the countries the pipeline passes through that it is able to sweep aside everyone and everything in its path. The Oil Road paints a picture of the West’s ‘energy imperialism’ and insatiable addiction to oil. But this is far from a dry academic or NGO report of ‘energy security’ and oil geopolitics. Rather, it’s a vivid piece of industrial / infrastructural travel writing. A page-turning detective thriller that’s accessible to readers who don’t identify as oil-geeks. The authors use a familiar road trip format for political advocacy, to ‘show the filthy entrails of the global economy close up’, as one commenter puts it. Some commenters rage at BP, and/or say the authors are obviously a biased against BP, and/or bemoan the lack of alternatives and/or express greater worries about the ‘carbon web’ that the book vividly – but only partly – reveals. This is thing-following in multiple ways. It follows oil along a pipeline. It follows the pipeline itself. And it follows the money generated by the oil flowing along the pipeline.
Page reference: Molly Mansfield, Louise Ford, Olivia Rogers, Millie Smith, Bryony Board & Charlotte Watts (2013) The Oil Road. followthethings.com/the-oil-road.shtml (last accessed <insert date here>)
Field photograph, taken in 2015. A Northern Gas Networks repair team responds to a reported gas leak in County Durham. The way gas drew actors such as these in to respond to its escape provided a valuable opportunity for me to talk to practitioners and to observe the practices they employed to visualise and govern natural gas.
Field photograph of a section of low-pressure distribution pipe, taken in Middlesborough in 2015. This pipe has been excavated as part of a nation-wide programme of pipeline replacement.
Field photograph taken in 2015 during a visit to a meter calibration facility, owned by DNV-GL.
“Hard To Follow Things: Natural Gas“ A blog post by Peter Forman originally published on the followthethings.com blog. Available in full below. Originally published here.
PhD student Peter Forman wants to follow the thing, but his thing is natural gas. That’s a difficult thing to follow. Most of the things that people follow could be held in their hand, placed in their shopping bag. But it’s difficult and dangerous to do that with gas. Most of the things that people follow clearly come from somewhere. This banana was grown in this country. This phone was assembled in that country. But natural gas molecules from different sources get mixed up, so you can’t follow this commodity from source to destination, from production to consumption. It also gets from A to B underground, along pipes whose exactly network is a closely guarded secret. So how do you follow gas? For Peter, you find the places where it comes to the surface, in infrastructure, where it leaks, where the gas company vans and workers are digging holes, mending and replacing piping, that kind of thing. Thing-followers know that their thing is going to be a co-author of their work. It’s going to shape the way they work, and how they can study it. Nothing is impossible to follow, you just need some creative thinking, theorising and fieldwork strategies to work it out. As Peter says a the end of his post, ‘Every “thing” introduces its own challenges for study, and as thing-followers, we must be attentive to these specificities, continue to develop novel strategies for dealing with these difficulties, and continue to share our experiences of the challenges encountered.’ He’s sharing his experiences below.
Page reference: Pete Forman (2024) Hard To Follow Things: Natural Gas. followthethings.com/hard-to-follow-things-natural-gas.shtml (last accessed <insert date here>)
“China, Britain And The Nunzilla Conundrum“ A radio documentary presented by Anna Chen (a.k.a. Madam Miaow), produced by Sally Heaven for BBC Radio 4. Audio clip embedded above. Listen to the full radio documentary on the BBC website here (when available, with account, screengrab above) and on Box of Broadcasts here (with University subscription).
Chinese-English comedian and writer Anna Chen loves kitsch, ‘tat’, and (to some) offensive ‘stocking filler’ gifts like the clockwork fire breathing nun ‘Nunzilla’ and ‘Dashboard Jesus’ (not to mention elastic band holder ‘Mummy Mike’ and singing fish ‘Billy Bass’). Unsurprisingly, they’re ‘Made in China’ but, she wants to find out, what do they tell us and the people who design and make them about Western culture, religion and values? What gets lost and found in translation? And what do the factory workers who make them think they are for? How do they imagine the people who buy them? And what can tracing the relations between the designers, makers and consumers of cheap plastic kitsch tat tell us about China-UK relations? This is a serious piece of cross-cultural commodity following. It’s enjoyable and worrying. But there aren’t any exploited workers. What’s it hoping to achieve?
Page reference: Ian Cook et al (2024) China, Britain And The Nunzilla Conundrum. followthethings.com/china-britain-and-the-nunzilla-conundrum.shtml (last accessed <insert date here>)
“Diamonds Are From Sierra Leone“ A music video starring Kanye West & Jay-Z, directed by Hype Williams, music by Kanye West, Jon Brion & Devo Springstein, for Roc-A-Fella Records. Embedded above.
Kanye West is writing and recording a new song commemorating the rebirth of his label Roc-A-Fella Records, including conflicts within the organisation and its hand-signal which is the shape of a diamond. Q-Tip, a former member of A Tribe Called Quest, then alerts him to the ‘blood diamond’ scandal in Sierra Leone. So West changes the title of the track to ‘Diamonds are from Sierra Leone’. And makes a powerful black and white music video about the supply chain linking the country’s child diamond miners to wealthy white diamond consumers shopping in high end jewellery stores in the USA. A small, black, child’s hand appears from beneath the counter to hand these consumers the precious blood diamond they crave. The video ends with a converted luxury car ramming the store and a screen with a plea: ‘please buy conflict free diamonds’. The video wants to raise awareness of the issue. But audiences point out how a diamond-encrusted mask that West wears on stage, and the bling culture he brags about, makes this plea a bit hypocritical. His core fans are also not impressed by the song’s sample of Shirley Bassey’s ‘Diamonds Are Forever ‘ (plus some harpsichord sampling) on the album where this track appears. So he returns to recording more traditional Crack Music that his fans want to hear. Nevertheless, the message of ‘Diamonds Are From Sierra Leone’ gets through. Audience members are questioning the origins of their diamonds. So is this a successful example of trade justice activism despite – kind of – not being trade justice activism?
Page reference: Hector Neil-Mee, Hannah Willard, James Kemp, Harvey Dunshire, Maddy Morgan & Luke Jarvis (2024) Diamonds Are From Sierra Leone (taster). followthethings.com/diamonds-are-from-sierra-leone.shtml (last accessed <insert date here>)
