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Mangetout

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Grocery

Mangetout
A documentary film directed by Mark Phillips for the BBCTV Modern ‘Times’ series.
Screengrab slideshow embedded above. Documentary available on Box of Broadcasts (with institutional login) here.

In this landmark ‘follow the thing’ documentary, director Mark Phillips follows the simple magetout pea (also known as a snowpea) and connects the lives of its producers, retailers and consumers. He films a dinner party in the UK’s home counties where mangetout is a side dish. The guests talk about ‘third world’ lifestyles and exploitation. He films the farm where they are grown in Zimbabwe and introduces us to some of the farm workers and their boss. He visits a UK supermarket and asks shoppers if they buy mangetout. It wasn’t a common vegetable in 1997. And he asks them where Zimbabwe is. Not many seem to know. He films the person who sources Zimbabwe-grown mangetout for the Tesco supermarket chain. And he films this person’s visit to the farm in Zimbabwe where he’s treated like royalty. He’s visiting to monitor the processes that provide the identical size, shape and quality mangetout peas at the price he needs. That’s his job. He wants the farm boss to instruct his workers to improve the quality. The customers – who he says are his boss – will demand this. This is such a fascinating film. It jumps backwards and forwards between these different people talking about mangetout peas and the ways that big business and global capitalism works. From these different perspectives, everyone has an opinion to share. The film’s inclusion of so many perspectives is unprecedented. Everyone seems to speak quite frankly. The power that the Tesco supermarket chain, and the person who sources its mangetout, is enormous. Its visiting buyer talks to the farm manager using a language of partnership, but the farmers say they have to do what they are told. The diners talk about the exploitation of ‘third world’ farmers in casual and abstract ways, and the film cuts to the farm workers talking about the lives they can lead with the money they earn. The people at the top of the ladder are white. The people at the bottom are black. With all of these different stakeholders in it means that, as a viewer, you’re not positioned as a consumer who needs to act by changing your consumption – that’s quite a common trope. You could empathise with any and all of the film’s participants, in different ways. This film was made to educate it audience – carefully, empathetically, through the careful juxtaposition of scenes and voices from a supply chain – about how capitalism works. It’s many juxtapositions give you lots to think about. And, it had a huge impact that on the UK supermarket industry in the 1990s. This was a golden time in trade justice activism. So many campaigns were starting up, and corporations hadn’t yet learned how to respond. Tesco were embarrassed. To borrow a phrase from elsewhere, this film showed ‘capitalism with its clothes off’. They had to do something. They and their rivals didn’t want ‘another Mangetout’. It’s a shame it’s so hard to find now.

Page reference: Ian Cook et al (2025) Mangetout. followthethings.com/mange-tout.shtml (last accessed <insert date here>)

Estimated reading time: 52 minutes.

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The Fruits Of Our Labour: An Avocado’s Story

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Grocery

The Fruits Of Our Labour: An Avocado’s Story
A dissertation by Freddie Abrahams, submitted as part of their BA Geography degree at the University of Birmingham, UK.
Sample pages from Introduction, Methodology & Findings in slideshow above. Click them to read the dissertaion.

Undergraduate student Freddie Abrahams is shocked to discover that the Carmel-branded, ‘Produce of Israel’ avocados he eats may be grown on illegally seized Palestinian land. There’s a campaign in the UK to boycott these fruits. So he contacts Agrexco, the Israeli company that supplies them, and asks if it’s possible to find out for himself. He travels to Israel and ends up on kibbutz farms. They’re not on Palestinian land. And they’re not farmed by Palestinian people. The people he meets are migrant workers from Ethiopia, Thailand and other countries. He’s baffled. The boycott protestors are so angry. They say that all Israeli avocados should be boycotted. But the Agrexco managers he’s met have helped him so much with his research. They have been so open. He hasn’t seen any avocados being grown on Palestinian land. But Agrexco wouldn’t help him to see that, would they? His research does throw some doubt on facts of the boycott. So what’s his dissertation about? Following acovados? And/or the politics of knowledge in following avocados. What research are thing-followers allowed to do? What access can they gain to what spaces? Who gives permission? Who shapes what they learn to see? Freddie’s research was unusually easy to do.

Dissertation reference: Freddie Abrahams (2007) The Fruits Of Our Labour: An Avocado’s Story. BA Geography Dissertation: University of Birmingham, UK (followthethings.com/the-fruits-of-our-labour-an-avocados-story.shtml last accessed <insert date here>)

Page reference: Freddie Abrahams (2011) The Fruits Of Our Labour: An Avocado’s Story. followthethings.com/the-fruits-of-our-labour-an-avocados-story.shtml (last accessed <insert date here>)

Estimated reading time: 60 minutes.

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Broccoli & Desire: Global Connections & Maya Struggles In Postwar Guatemala

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Grocery

Broccoli & Desire: Global Connections & Maya Struggles In Postwar Guatemala
An academic book by Edward F. Fischer & Peter Benson published by Stanford University Press.
Google Books preview embedded above.

There are shoppers in Nashville USA who are conscious about their health and shop for healthy vegetables like broccoli in their local supermarkets. There are farmers in Guatemala who are trying to hold onto their land and to make a living by growing vegetables like brocolli for export markets like the USA. Each has their own rich and fascinating story to tell about their lives, their work, their dreams and desires for a better future. In this book, their lives are seen as interdependent as the authors travel along Brocolli’s supply chain, connecting these worlds and lives through detailed ethnographic fieldwork and description. They find that shoppers’ and farmers’ lives, and the impacts that they have on one another, are bound together in complex geographical and historical webs of connection. Like the best ‘follow the thing’ work, this study of a commodity that many wouldn’t think twice about on the supermarket shelf. But, once you start to examine it, ask questions about it, and start following it, what you find is often staggering in its contrasts, connections, depth and feeling. For the authors, the concept of ‘desire’ is something that this vegetable’s farmers and shoppers have in common. Could shoppers’ desire for cheap food be re-aligned into a desire for more equitable relations with farmers (even if this might cost a bit more)? Can there be foods that are good for the health and wellbeing of everyone in their supply chains? This is an admirable intention, but we haven’t been able to tell if and how this book encouraged others to think this was and to act on this way of thinking. What impact can an academic book have?

Page reference: Keith DellaGrotta and Meredith Weaver (2011) Broccoli & Desire: Global Connections & Maya Struggles In Postwar Guatemala. followthethings.com/broccoli-desire-gobal-connections-maya-struggles-in-postwar-guatemala.shtml (last accessed <insert date here>)

Estimated reading time: 12 minutes.

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Bananas!*

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Grocery

Bananas!*
A documentary film directed by Fredrik Gertten for WG Film AG, Sweden
Free trailer and on demand stream embedded above. Search online for other streaming options here.
The first of two films on this topic. The second is “Big Boys Gone Bananas!*”. See our page in this here.

Swedish Filmmaker Fredrik Gertten tracks a ‘class action’ legal case in which lawyers working on behalf of a group of Nicaraguan banana workers sue the American fruit multinational Dole in a Califiornia court for exposing them to a banned pesticide known to cause impotency in men. Gertten follows a flamboyant Cuban-heritage, Los-Angeles based lawyer called Juan ‘Accidentes’ Domingiuez as he and his team gather evidence from affected workers and present it in court. Grainy court-TV footage is cut into the film, and the scenes are remarkable. Dominguez’ attourney Dwane Miller encourages Alberto Rosales and other plaintiffs to explain how their lives were ruined by these chemicals robbing them of their fertility. And when Dole CEO David Delorenzo is in the dock, Miller gets him to admit that Dole used these banned pesticides knowing the risk. Dole attorney Rick McKnight cross examines the plaintiffs, aiming to show they are drunks and liars. When the verdict comes in, Dole is largely found guilty and ordered to pay compensation to the plaintiffs. Dominguez conveys the good news to the farming communities, phoning in to a radio show, and visiting to talk to a packed hall of workers. He’s a hero. But this is a test-case. If it’s successful, thousands of other victims would be able to claim compensation from Dole too. So, as the film is being readied for its premiere at the Los Angeles Film Festival, Dole launches a sophisticated smear campaign against Dominguez (accusing him of fraud – a charge later discmissed) and the film (which they claim is based on fraudulent content). Suspiciously, damning reviews appear in newspapers and film trade publications before teh film has its premiere (i.e. before anyone had seen it). Dole forces it to be taken out of competition and the festival organiser reads a disclaimer to the audience before its only screening. Fredrik Gertten, the director, doesn’t know it at the time but this is be the first of two films he will make on this topic. The second will be about Dole’s attempts to silence the first. He films everything as the chaos unfolds. [See our page on the sequel – ‘Big Boys Gone Bananas!*’ – here] But this scandal means Bananas!* picks up priceless free publicity, and diverse allies, worldwide. When it’s finally distributed, it’s marketed as ‘the film Dole doesn’t want you to see.’ Maybe if Dole had left it alone, Bananas!* wouldn’t have become a ‘must see’ example of trade justice fillmmaking, then and now. If their corporate public relations team had decided to just keep quiet, they wouldn’t have amplified Dole’s corporate misbehaviour that Bananas!* tracked so diligently. Amplifying a critique by trying to silence it is called the ‘Streisand Effect’, by the way, and this isn’t the only example on our site. So much happened in and around this film that this is an epic followthethings.com page. There are so many comments to read. But does the scandal about the silencing of the film distract from the scandal of Dole’s banned pesticide use, and its effects on so many thousands of banana workers in Nicaragua? As you will see, the answer is yes and no.

Page reference: Ian Cook et al (2020) Bananas!*. followthethings.com/bananas.shtml (last accessed <insert date here>)

Estimated reading time: 100 minutes.

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Ghosts

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Grocery

Ghosts
A documentary film written by Nick Broomfield, Jez Lewis & Hsiao-Hung Pai, directed by Nick Broomfield for Beyond FIlms
Official trailer embedded above. Available on Box of Broadcasts (with institutional login) here. Search online here for other streaming availability.

Documentary filmmaker Nick Broomfield is known for his quirky, in-front-of-camera documentaries but, after a 2004 disaster where 23 Chinese migrant workers picking cockles were drowned by a fast-incoming tide in the UK’s Morecamble Bay, he decides to make a docu-drama to show what happened and why. This is a tale of people smuggling, modern slavery and violent, corrupt gangmasters sourcing and providing cheap slave labour in the UK to pick vegetables like spring onions and seafood like cockles for sale in mainstream supermarkets (which the film names). It was co-written with Hsiao-Hung Pai – a Taipei-heritage UK journalist and writer – was researched through the writers’ visit to China to visit the victims’ families, starred former illegal immigrant Chinese non-actors working with an improvised script, was filmed where the disaster happened, and ends with a plea for audience members to donate to a fund to help the dead workers’ families pay their people-smuggling debts. The tale is told from the perspective of a female worker called Ai Qin. She and her compatriots speak in Mandarin so that that ‘Ghosts’ – their white gangmasters – can’t understand they are mocking them. In the final scene, just before Ai Qin drowns, she calls her son in China to sing him a farewell song on her mobile phone. Who is to blame for their deaths? The migrant workers? The people smugglers and gangmasters? The supermarkets? The government? This film was made to be put to use, to have a positive impact. On public attitudes to migrant workers. On the law. On the victims’ families. In contrast to a documentary film, a docu-drama can script and film anything, anyone, anywhere. So a fuller picture of the challenges that workers and trade justice activists face can be pieced together to provoke change.

Page reference: Harriet Allen, Etienne Heaume, Lizzie Heeley, Rosie Hedger, Sam Johnson, Olivia McGregor & Lucy Webber (2011) Ghosts. followthethings.com/ghosts.shtml (last accessed <insert date here>)

Estimated reading time: 51 minutes.

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Gold Farmers

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Money & Finance

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>)

Estimated reading time: 11 minutes.

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A Week In A Toxic Waste Dump

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Recycle my waste

A Week In A Toxic Waste Dump
A documentary film starring 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.

“A harrowing new BBC documentary has exposed the continued illegal dumping of e-waste in developing countries. … [Presenter] Reggie [Yates], whose parents were born in Ghana, heads to the country’s capital – Accra – to spend a week living on one of the largest electronic waste dumps in the world. Nicknamed Agbogbloshie, this 20-acre site was established in the 1990s and has grown from a former wetland area with rivers, farms and a lagoon, to one of the most toxic sites on the planet. An electronic graveyard littered with fridges, computers, air conditioning units and TV monitors, the dump sits beneath a permanent plume of thick black smoke. That’s because Agbogbloshie’s ‘burner boys’ – a name given to the manual workers at the very bottom of the chain – burn the waste electronics, which are bought and dismantled in bulk by wholesalers, to salvage precious metals like copper, aluminium and lead. The men, who often work in gangs in strong competition with one another, sell the precious metals on as raw materials. They’re paid in pennies for their efforts and live in extreme poverty – rarely earning enough to move further up the chain – but they’re paying the ultimate price: with their lives” (Source: Anon 2017, np link).

Page reference: Ian Cook et al (2024) A Week In A Toxic Waste Dump (holding page). followthethings.com/a-week-in-a-toxic-waste-dump.shtml (last accessed <insert date here>)

Estimated reading time: tbc minutes.

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Waste Land

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Recycle my waste

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>)

Estimated reading time: tbc minutes.

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Where Heaven Meets Hell

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Grocery | Health & Beauty | Home & Auto |

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>)

Estimated reading time: 53 minutes.

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Santa’s Workshop

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Gifts & Seasonal

Santa’s Workshop
An NGO Report written by Krista Bjurling for Swedwatch and a documentary directed by Lotta Ekelund & Krista Bjurling and produced by Lotta Ekelund for Lotta Films and The Fair Trade Center.
Screenshot slideshow embedded above. Download the report here. Search online to stream the film here.

Swedish toy companies and retailers seem sure that the things they have ‘Made in China’ are produced ethically. But what can they know about working conditions from audit reports and their own factory visits? NGO Swedwatch travels to China to find out, working with local labour activists to write a report and make a short film. What they find may temporarily ruin Christmas, but can it also change the ways that consumers and companies source toys in the future? As one commenter put it, ‘It’s fascinating to watch the blame being pushed around. It’s the worker’s fault, no, it’s the factories’ fault, no, it’s the client’s fault and last but not least, it’s the customer’s fault. The head in the sand attitude is quite remarkable.’ What’s fascinating to us is that, despite one union official in the film asking consumers NOT to stop buying the toys that the workers make, for some audience members that’s the only way to respond. So what other ways can audiences react? How can filmmakers control this? Will there always be audience members who simply want to disengage?

Page reference: Matthew Chambers, Millie Daglish, Sophie Rendell, George Stapleton, Georgie Thompson & Franziska Nuss (2024) Santa’s Workshop. followthethings.com/santasworkshop.shtml (last accessed <insert date here>)

Estimated reading time: 37 minutes.

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