Unbranded – Page 3 – followthethings.com

“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>)

Estimated reading time: 9 minutes.

Posted on September 20, 2024January 5, 2025 by Ian Cook

Manufactured Landscapes

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Home & Auto

SMART CIRCUIT BREAKERS

MUTLIPLE OTHER COMMODITIES

TEACH ECONOMIC GEOGRAPHY

“Manufactured Landscapes“
A documentary film directed by Jennifer Baichwal, starring photographer Edward Burtynsky, for Zeitgeist Films.
Trailer embedded above. Search online for streaming availability here.

Filmmaker Jennifer Baichwal follows industrial landscape photographer Edward Burtynsky as he visits factories, dumping and recycling sites in China and Bangladesh. His photos are stunning, beautiful, mesmerising and disturbing. Her film picks out the details and follows them, ‘unfreezing’ his photos in time. On the one hand, it’s a portrait of the artist at work. But, on the other, some say it’s a critique of the way that his work is more interested in the aesthetics than the politics and ethics of global capitalism. As he’s high above or far away trying to get a stunning visual composition framed and lit just right, she documents lives and livelihoods up close. People watching the film say that it transforms the cinema into an art gallery, as his photos linger long on the screen. Many remark on the ‘beauty’ of his work. It’s sublime. But is Baichwal’s film complicating these aesthetics with ethics? Or does his interest in capitalist industrialisation’s huge scale, order, patterns and visual contrasts ,and his eye for pollution, invite the viewer to see these ethics at play?

Page reference: Lucy Bannister, Harriet Beattie, Katy Charlton, Lawrence Cook, Daisy Livingston, Romain Tijou & Alex Tucker (2011) Manufactured Landscapes. followthethings.com/manufactured-landscapes,shtml (last accessed <insert dae here>)

Estimated reading time: 36 minutes.

Posted on September 20, 2024January 5, 2025 by Ian Cook

The First Ever Pacemaker To Speak For Itself

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Health & Beauty

2014

UNBRANDED

HEART PACEMAKER

MINED IN THE DEMOCRATIC REPUBLIC OF THE CONGO

REDESIGN THE COMMODITY

ENCOURAGE THANKFULNESS

“The First Ever Pacemaker To Speak For Itself“
Undergraduate coursework made and recorded by Jennifer Hart
Images of the pacemaker and packaging submitted is in the slideshow above, the song is embedded below.

The students’ first task in the ‘Geographies of Material Culture’ module at the University of Exeter is to make a personal connection between their lives and the lives of others elsewhere in the world who made the things they buy. These are the people who help you to be you, followthethings.com CEO Ian tells them. So choose a commodity that matters to you, that’s an important part of your identity, that you couldn’t do without. Think about its component parts, its materials, and what properties they give to that commodity and your experience of ‘consuming’ it. Student Jennifer Hart feels guilty about the conflict minerals in her mobile phone. Then she finds that the heart pacemaker her mum is having fitted also contains those minerals. It’s a lifesaving operation. How can she reconcile her mum’s suffering and that of these minerals’ miners? How best can she express her feelings about this technological object? By making a pacemaker that knows what she knows, feels what she feels, and can sing about it. A pacemaker that can express a huge thank you.

Page reference: Jennifer Hart, J. (2014) The First Ever Pacemaker To Speak For Itself. followthethings.com/pacemaker.shtml (last accessed <insert date here>)

Estimated listening & reading time: 10 minutes.

Posted on September 20, 2024January 5, 2025 by Ian Cook

Louise Mensch On Occupy London-LSX (HIGNFY)

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Grocery | Electronics | Home & Auto

DISTRACT FROM REALITY

CHANGE CITIZEN BEHAVIOUR

PUT YOUR BODIES IN THE WAY

HOPE FOR A Q&A

MAKE IT FAMILIAR

INVOLVE SOME CELEBRITIES

“Louise Mensch On Occupy London-LSX (HIGNFY)“
A discussion on BBCTV’s satirical news panel show Have I Got News For You (HIGNFY), featuring Louise Mensch, Danny Baker, Paul Merton and Ian Hislop, chaired by Alexander Armstrong.
Discussion embedded above on YouTube HIGNFY highlights reel.

The Conservative MP Louise Mensch and the comedy writer Danny Baker are guests on a Friday night satirical news panel show in October 2011. The Occupy camp outside London’s St Paul’s cathedral has just become front page news. The host Alexander Armstrong asks the panellists to comment on what’s happening. Mensch argues that these Occupy protestors can’t be against capitalism when they’re enjoying its fruits – like the ‘fancy tents’ they’re living in, the iPhones they’re tweeting from and the Starbucks coffees they’re queuing for. The other panellists disagree and mock her argument. She seems to be saying that anyone who participates in capitalism should not be criticising it. And, if people are critical of capitalism, you don’t have to listen to what they say. This is the ‘hypocrite’ accusation that even the mildest anti-capitalist can expect. It’s a strategy for dismissing criticism of trade injustice , and was quickly labelled the ‘Mensch Fallacy’. Taken to its extreme, it means that only people with zero involvement in capitalism can criticise it. And that’s nobody on earth! Here at followthethings.com, we love to spot patterns in audiences’ responses to trade justice activism. This is a big one. This page looks at the only example on our site that is a response, and the way that the panellists and audiences online challenged it. Read on.

Page reference: Jon Chick, Matt Bhol, Dee Wood, Tom Lyle, Olly Woodford & Henry Owen (2012) Louise Mensch On Occupy London-LSX (HIGNFY). followthethings.com/louise-mensch-on-occupy-london-lsx-hignfy.shtml (last accessed <insert date here>)

Estimated reading time: 49 minutes.

Posted on September 20, 2024January 8, 2025 by Ian Cook

Santa’s Workshop

Screenshot

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Gifts & Seasonal

SHOW CAPITALIST EVILS

TEACH ECONOMIC GEOGRAPHY

CHOOSE THE RIGHT THING

BRING MANAGERS INTO VIEW

HOLD ‘EM ACCOUNTABLE

BLAME, SHAME & GUILT

“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.

Posted on September 16, 2024January 9, 2025 by Ian Cook

Just Eat It: A Food Waste Story

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Recycle my waste

START SOMEWHERE DIFFERENT

MAKE THE HIDDEN VISIBLE

“Just Eat It: A Food Waste Story“
A documentary film written by Jenny Rustemeyer Grant Baldwin, directed by Grant Baldwin for Silvapark Films.
Trailer and on-demand Vimeo stream embedded above. Search the internet for other streaming options here.

Most trade justice activism looks back down the supply chain from the point of consumption. It looks at all the materials, human and other lives bound up in commodities. It asks how they could be brought together in more sustainable, more ethical, ways. The sheer volume of resources inside even the most basic thing can be astonishing. Just as astonishing are the mountains of unsold commodities that go to waste. All those resources and all that work that went into making commodities that aren’t consumed! It’s shocking. So, filmmakers Jenny Rustemeyer and Grant Baldwin challenge themselves to live on thrown-away food for six months. They document how they get on with this experiment in a diary-like film. All the little details of their life, the decisions they make, are shared with the audience. People throw perfectly good food away at home, so maybe rummage through their bins. Then they discover the hidden world of supermarket dumpsters that contain discarded out-of-date food. They find and join local networks of dumpster-divers who specialise is finding, emptying, distributing and eating what’s in them. But what kind of diet do you end up living on when this is how you shop? How many lasagnes can you squeeze into your freezer? Do you fancy eating lasagne every day? Would you try this zero cost ethical food shopping? What can audiences learn about the food industry’s inevitable production of waste? They call on some experts to explain.

Page reference: Ian Cook et al (2024) Just Eat It: A Food Waste Story (holding page). followthethings.com/just-eat-it-a-food-waste-story.shtml (last accessed <insert date here>)

Estimated reading time: tbc minutes.

Posted on September 14, 2024January 5, 2025 by Ian Cook

Find Your Doppelganger

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Apps

2015

UNBRANDED

PHOTO APP

DOPPELGANGERS WORLDWIDE

USED WORLDWIDE

PHONE APP CONCEPT

POP THE BUBBLE

ENCOURAGE DETECTIVE WORK

BRING PEOPLE TOGETHER

ENCOURAGE EMPATHY

“Find Your Doppelganger“
A concept for a mobile phone app submitted by Rachel Grant as part of a BA Geography dissertation at the University of Exeter, UK.
Full concept text below.

Student Rachel Grant likes to try out the latest apps on her smartphone. She’s tried ones that tell you which celebrity you look like. That’s OK. But there’s a photographer who finds unrelated people who look exactly alike. The technical terms is doppelganger. He arranges for them to meet, photographs them together and finds they feel connected, like lost relations. So what if there was a phone app – like the ones that help you find your celebrity lookalike – that could scan your face and introduce you to your supply chain doppelganger? A garment worker? A tungsten miner? A tea picker? A delivry driver? A plastic recycler? Someone who helped to make your stuff? Might you feel more empathetic towards supply chain workers if they looked like you? Would it be easier to imagine walking in their shoes? What if the ‘Find Your Doppelganger’ app gave you the chance to chat? What if you met up? What impact could meeting a lost ‘relation’ like this have on you?

Page reference: Rachel Grant (2024) Find Your Doppelganger. followthethings.com/doppelganger.shtml (last accessed <insert date here>)

Estimated reading time: 5 minutes.

Posted on September 13, 2024January 26, 2025 by Ian Cook

Ilha Das Flores

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Grocery | Money & Finance | Recycle my waste

TEACH ECONOMIC GEOGRAPHY

SHOW CAPITALIST EVILS

START SOMEWHERE DIFFERENT

MAKE THE HIDDEN VISIBLE

MAKE IT FUNNY

TRANSLATE & SUBTITLE

“Ilha Das Flores (Island Of Flowers)“
A short film written, directed and produced by Jorge Furtado for Casa de Cinema de Porto Alegre, Brazil.
Embedded in full above. Search online to watch the film here. In Portuguese with English subtitles.

It sounds simple: filmmaker Jorge Furtado follows the life of a tomato from Mr Suzuki’s tomato field to a garbage dump ‘on the Island of Flowers’ in Porto Alegre, Brazil. Here, the rotten tomatoes binned in shoppers’ kitchens are selected to feed the local pigs. The leftovers are scavenged by local people who have queued for the chance. But, this no ordinary film. Its footage doesn’t always seem ‘real’. Its voiceover is eccentric but is delivered in monotone. It’s like an economic geography lecture – or a public information film – that’s been made for an audience visiting Planet Earth for the first time. It explains what a human being is, and what the function of money in capitalism is, for instance. It’s full of human beings whose tomato-connected lives audiences can learn a little bit about. It’s a collage made from quick cuts between filmed scenes, found media and ideas. There seem to be so many tangents. But, together, they gradually build a powerful argument that, ultimately, trashes the way that capitalism values people, animals and the environment. Humans who watched it called it a beautiful, hilarious and deeply troubling masterpiece. You’ll have to watch it to believe it. Maybe two or three times. It’s only 13 minutes long. It’s the only example of trade justice activism that we have found that follows a thing from the beginning to the end of its life. And it decentres the stereotypical shopper in fascinating and eccentric ways. But what is Jorge Furtado trying to achieve? What are his cultural reference points? Why is this highly political film presented as a kind of weird joke?

Page reference: Maura Pavalow (2025) Ilha das Flores. followthethings.com/ilhadasflores.html (last accessed <insert date here>)

Estimated reading time: 68 minutes.

Posted on September 13, 2024January 9, 2025 by Ian Cook

Plastic China

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Recycle my waste

SHOW CAPITALIST EVILS

INCLUDE SUFFERING KIDS

BRING MANAGERS INTO VIEW

ENCOURAGE EMPATHY

“Plastic China“
A documentary directed by Jiuliang Wang for CNEX, Beijing TYC & Oriental Companion Media
YouTube trailer and pay-per-view stream embedded above. Search online for other streaming options here.

Recycling plastic is a good thing right? But where does it go to be recycled? Who does recycling work? And what’s that work like? This film traces the world’s plastic waste to a small village in China where families sort, clean and shred it by hand and by machine. Some of it is processed to make nurdles – the tiny plastic beads that factories buy in bulk to melt and make recycled plastic goods. A lot of it isn’t – partly because there are so many types of plastic, and those nurdles can’t mix them together. The film shows the labour of plastic recycling from the perspective of an 11 year old girl called Yi-Jie. Her family eke a living processing plastic waste shipped into their lives from all over the world. She recycles full time to help earn money for, and alongside, members of her impoverished family. Some of the plastic packaging she processes includes images of wealthy consumers enjoying the goodies that they used to contain. These images feed Yi-Jin’s dreams of a better life. She plays imaginative games with the plastic packaging that surrounds her. In one scene she makes and plays with a plastic waste computer. But her family doesn’t earn enough for her to attend school. She doesn’t seem to be going anywhere. Audiences for trade justice activism are used to worrying about who makes their stuff down the supply chain. But the hidden lives and labours in commodities don’t disappear when they’re purchased. Others become attached to them when they’re thrown away. The same labour (and environmental) rights issues are there to worry about too. The materials that commodities are made from never disappear. They just appear somewhere else, in other people’s work, lives and landscapes. This film was terrible PR for the Chinese government. Not surprisingly, they banned it from being shown there. But they went much further, banning the importing and recycling of plastic waste from overseas. Shutting down an industry is perhaps the most powerful impact that trade justice activism can have. But is this what the filmmakers had in mind when they decided to make Plastic China? Could they have predicted that this might happen? What’s their responsibility towards Yi-Jon and her family?

Page reference: Ian Cook et al (2024) Plastic China (holding page). followthethings.com/plastic-china.shtml (last accessed <insert date here>)

Estimated reading time: tbc minutes.

Posted on August 28, 2024January 28, 2025 by Ian Cook

Machines

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Fashion

BRING MANAGERS INTO VIEW

MAKE IT BEAUTIFUL

MAKE IT INCOMPLETE

“Machines“
A documentary film directed by Rahul Jain with cinematography by Rodrigo Trejo Villanueva for Jann Pictures, Pallas Film & IV Films.
Trailer embedded above. Available on demand on Vimeo here and Dogwoof here. Available on Box of Broadcasts here and Kanopy here (with institutional login). Search online for other streaming options here.

Director Rahul Jain revisits the fabric factories of his youth to document machines and people that print patterns on the rolls of fabric bought by clothing manufacturers to make the shirt, dress or pair of tights that you or I might wear. His film is beautiful, atmospheric, metronomic, disturbing. Watching the machines at work, and the people tending them, is mesmerising. The cinematography is wonderful. It seems like a proper ‘fly on the wall’ documentary for a long time. When the workers later start to talk about their lives and work in this place, it’s depressing, hopeless, boring, toxic, abject, unhappy. This is a powerful film that moves audience members viscerally, but Jain doesn’t want them to do anything to help the workers. Towards the end, workers telling Jain that he’s just like a politician. He visits. He hears problems. He leaves. Nothing changes. So what can a film like this do? What’s the point of making it? How do audience members respond? What difference can it make? Is it about this factory and its workers? Or capitalism as a system? Is this trade justice activism? Or an arthouse film? The answer is open…

Page reference: Annily Skye Jeffries (2017) Machines. followthethings.com/machines.shtml (last accessed <insert date here>)

Page also available in Finnish here (coming soon)

Estimated reading time: 62 minutes.