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A Decent Factory

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Electronics

A Decent Factory (alternative title Made in China)
A documentary film directed by Thomas Balmès for Margot Films, Making Movies Oy, France 2, BBC Storyville & YLE
Film clip embedded above. Search online to stream the whole film here.

In the mid 2000s, the Finnish company Nokia was the world’s largest producer of mobile phones. French film-maker Thomas Balmès works moves to Finland and spends 18 months in the country before getting permission to follow its executive Hanna Kosinen and business ethics consultant Louise Jamison as they undertake the company’s first ‘ethical audit’ of a mobile phone factory in China. Hanna and Louise have been tasked by Nokia to see for themselves if and how the company can exercise its ‘corporate social responsibilities’ both to its shareholders and to its factory workers. After a detailed tour of the plant, and some challenging and moving interviews with some of its managers and young female factory floor staff (in their cramped dorm rooms), they have to write a report for Nokia about its CSR in practice. It’s not flattering. The factory isn’t reaching even the low Chinese government expectations about minimum wages and working conditions. In the early days of a technology which later became synonymous with appalling labour conditions (see our page on the 2010 iPad factory suicides here), there was a company, and some company executives, who wanted the people making their branded products to enjoy a decent standard of living. But when they visit – as Balmès’ film shows – they get a shock and start to wonder why their principles don’t seem to be possible in practice. Nokia’s managers are ‘walking a tightrope between profits and law’. They are disarmingly frank in front of the camera, until they find out that this isn’t a films solely for internal Nokia consumption. The film that Balmès produces is darkly funny and tragic, It ends with Hanna leaving the company to pursue a more ethical career, where she can make a difference. This is an important, insightful film. It brings corporate managers into view in vivid and candid ways. It’s not only the factory workers who are ‘humanised’. In this film, its corporate managers and their consultants whom audiences are invited to empathise with. The people employed, internally, to hold a company accountable. These executives are not just being interviewed for a ‘talking head’ perspectives and/or briefly followed around a production site (see our page on the BBC Mangetout documentary for comparison here). These executives are not being deliberately embarrassed or demonised. Audience members can see what they are tasked to do. The ethical principles they would like to see in practice. Where they go. Who they talk to. How this affects them emotionally. How their personal and company principles work out in practice. What this makes them think about their job, the company they work for, and its stated corporate values. And whether they can stomach the disappointment when reality bites, and the change that’s needed doesn’t seem possible?

Page reference: Thirii Myint & Chris Lee (2011) A Decent Factory. followthethings.com/a-decent-factory.shtml (last accessed <insert date here>)

Estimated reading time: 29 minutes.

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Hydrocortisone Relatedness

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Health & Beauty

Hydrocortisone Relatedness
A talk by Ian Cook et al, edited and updated for publication here.
Available in full below.

Sometimes the thing you want to follow chooses you. It’s October 2004. followthethings.com CEO Ian is in considerable pain. He goes to hospital. He’s got kidney stones. Lots of them. The following summer he’s diagnosed with an illness called sarcoidosis. That’s what’s causing his body to make them. It’s also causing considerable weight loss. And lethargy. And extreme thirst. This is a serious illness. It’s in his lungs. But it could spread. He’s prescribed hydrocortisone steroid tablets. They calm the sarcoid inflammation that sets off the chemical reactions that cause his body to make those stones. And he gets better. He regains his sense of self, his working body. It’s a miracle. He wants to find out more about the drug. Who makes it for him, where, from what? He wants to say thanks. He’s inspired by a student taking his ‘Geographies of material culture’ module whose medicine-following coursework was original & surprising [it’s published on our site here]. Medicines are such a mystery. Hardly anyone seems to follow them. Choosing something to follow when you have absolutely no idea what you might find can be exciting. Choosing something that you couldn’t function without but doesn’t have an ethical, sustainable, or fair trade alternative can make you think differently. If you’re used to ‘follow the thing ‘studies about the genre’s most charismatic commodities – food, fashion and electronics – medicines don’t give you what you might normally expect. Prescription medicines are procured for their consumers by healthcare services. You get what they source for you. Medicines can be made from active pharmaceutical ingredients and other materials that come from the most surprising sources. They may have been discovered / invented under the most surprising circumstances by the most unexpected people. That’s 100% the case with hydrocortisone. Ian’s pills are made and consumed in the UK in the mid 2000s. But his talk starts and ends with civil rights activism in the US the 1960s. He loves what he finds. It forces him to think differently, more thankfully, about theorising and engaging others in the lives of things: through kinship and thingship. And because of what he finds – he concludes – he is a we.

Page reference: Ian Cook et al (2024) Hydrocortisone relatedness. followthethings.com/hydrocortisone-thingship.shtml (last accessed <insert date here>)

Estimated reading time: 44 minutes.

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Those With Justice: A Disney Factory In China (+ Looking For Mickey Mouse’s Conscience – A Survey Of The Working Conditions Of Disney’s Supplier Factories in China)

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Gifts & Seasonal

Those With Justice: A Disney Factory In China (+ Looking For Mickey Mouse’s Conscience – A Survey Of The Working Conditions Of Disney’s Supplier Factories in China)
A short film directed by Karin Mak and translated by Jessie Wang for, and an NGO Report published by, Students & Scholars Against Corporate Misbehaviour (SACOM) & Sweatshop Watch.
Watch the film in full above. Read the report – here.

Inspired by student anti-sweatshop activism in the USA, students in Hong Kong come together to protest the opening of Hong Kong’s Disneyland. They visit the factories where the Disney merch that is going to be sold there is made. They talk to the factory workers, and are horrified by what they learn. There are dangerous and exploitative labour practices behind the happy smiling image of Mickey Mouse and Friends. One group of students – who call themselves Students and Scholars Against Corporate Misbehaviour (or SACOM) – write a report about the working conditions in four of Disney’s hundreds of Chinese supplier factories. It’s called Looking for Mickey Mouse’s Conscience – A Survey of the Working Conditions of Disney’s Supplier Factories in China. They do this with the help of a California-based NGO called Sweatshop Watch, who send a delegation to China which includes University of California Santa Cruz film studies student Karin Mak. Mak films the factory workers talking about these working conditions, and produces an 11 minute documentary called Those With Justice: A Disney Factory In China. This focuses on one of the four factories – Hung Hing Printing & Packaging – which makes children’s books for Disney. Here, she finds, the workers are constantly reminded about the delicate fingers of Western children. They mustn’t be harmed by paper cuts. That’s why they have to use dangerous hot glue presses to stick the paper covers to hardback copies of a Mickey Mouse’s Haunted Halloween book, for example. The film and the report show images of their burned, crushed and mangled fingers. These injuries are caused by equipment and the speed at which they have to work to meet their targets. Mak’s film is used by SACOM and Sweatshop Watch (and other labour rights NGOs) to launch the report. It helps this Disney sweatshop story to get traction in the international new media. Now Disney is under pressure to respond. What follows is a fascinating to-and-fro between a huge multinational corporation and a small, determined, skilful and well-connected group of Hong Kong students. This is a fascinating and important example of successful trade justice activism. Piecing the story together below, we have found a variety of factors that have contributed to this success – some planned, some not – and a fascinating discussion about what counts as ‘success’.

Page reference: Ian Cook et al (2011) Those With Justice: A Disney Factory In China (+ Looking For Mickey Mouse’s Conscience – A Survey Of The Working Conditions Of Disney’s Supplier Factories in China). followthethings.com/those-with-justice.shtml (last accessed <insert date here>)

Estimated reading time: 56 minutes.

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Life Of A Bullet

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Security

Life Of A Bullet
Opening credits to the movie ‘Lord Of War’ directed by Andrew Niccol with visual effects supervisor Yann Blondel.
Opening credits embedded above. Search online to watch them here. Stream the full movie here.

Imagine you could literally follow a thing, from the thing’s own point of view – like a video game – from its sites of production to its sites of consumption and maybe beyond. The opening credits of a Hollywood movie starring Nicholas Cage do just this. Set to Buffalo Springfield’s 1960s counterculture song ‘For what it’s worth (stop, hey what’s that sound)’, Lord of War begins by following the life of a bullet from a piece of sheet metal in a Ukrainian arms factory to a bullet flying out of an AK-47 assault rifle in streets of a Sierra Leone gunfight. Along the way it’s handled by lots of different people connected through its supply chain. At the end of its life, it serves its purpose by entering the forehead of a child soldier. This is when the song abruptly stops and the screen goes black. It’s catchy, bleak and brutal. But a bullet cannot be followed like this IRL. You need some research, an imagination and some heavy duty CGI expertise: like visual effects supervisor Yann Blondel’s. At followthethings.com this example has achieved a cult status. It’s like a foundation stone in the follow the thing genre. We keep coming back to it. Not only is this 3 minutes of GGI animation the best part of the movie (many commenters agree with us on that). It’s also the most brutally clear ‘follow the thing’ example we’ve found. Plus, it’s provoked the wildest discussions we have found about anything featured ion our site. Some discussion is are about the evils of the arms trade, and its undertones of colonialism and racial capitalism. But there are so many other perspectives. Some seem to have experience of shoot-em-up POV video games, others seem to have experience with real guns and ammunition, while still others seem to have an apparently deep knowledge of CGI animation, and more besides. Read the comments we’ve arranged below to see what we mean. If you’re a budding trade justice activist and you want to provoke enthusiastic discussion with your work, maybe this is the example to dig into. But, if you want that discussion to be focused on trade (in)justice, maybe it’s not. The movie, and the iconic opening scene that we’re talking about here, do get caught up in an international campaign to regulate the arms trade alongside another example we’ve researched (check here). But that doesn’t seem to have been the intention at the start.

Page reference: Ian Cook et al (2019) Life Of A Bullet. followthethings.com/pipetrouble.shtml (last accessed <insert date here>)

Estimated reading time: 50 minutes.

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MILKproject

  • MILKproject website homepage

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Grocery

MILK
A locative art-mapping project by Esther Polak & Ieva Auzina
Images above are of the MILKproject website homepage and of the MILK installation at the local museum in Rumbini, Latvia. Project website here.

The Milk Project literally follows a thing. It tracks milk from the cow’s udder to the cheese vendor using GPS trackers which record its geograophical location multiple times a second. The devices are given to people in the supply chain, so their movements are also being tracked. Those who have already handled on the milk, and those who are waiting for it (not to mention the partners of those who have it in the moment) can track its movements in real time. This is a locative media art work which also includes photography, storytelling and other methods that make this more than something that traces a line on a map. These supply chain workers can see their lives, and the commodities in which they trades as live, as xcrossinhg borders, as connected. For some artists and activists, GPS technology is the enemy. It’s an abstraction from the world. A tool of capitalist exploitation. But, in this project, it’s helps to paint a surprising intimate portrait of lives connected through trade: in real time for the participants, on the project website and on the rare occasions when it’s exhibited. The project gets caught up in debates about actor networks that are swirling at the time, but the artist and researcher who made see it more as an artwork about landscape. You can’t experience its liveliness now. The website animations don’t work because Adobe Flash was discontinued in 2020 [you may have a fix]. The installations were complicated top set up. The in-the-moment experience for the particpants was the most powerful. A lot has been written about it though. What’s been said?

Page reference: Elizabeth Karin & Anna Whitehouse-Lewis (2024) MILKproject. followthethings.com/milk.shtml (last accessed <insert date here>)

Estimated reading time: 29 minutes.

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McLibel

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Grocery

McLibel
A documentary film written by Franny Armstrong and directed by Franny Armstrong & Ken Loach for Spanner Films.
First released in 1998, extended version released in 2005 (the trailer for the latter version is embedded above). Search online to stream the whole film here. DVD extras Youtube Playlist is here. Original protest leaflet is here. Campaign website here.

Gardener Helen Steel and postman David Morris hand out leaflets outside McDonald’s restaurants in London. They tell consumers what’s wrong with the company and its food. Especially the cruelty in its meat supply chains. McDonald’s sues them for libel. What follows is the UK’s longest libel trial. An extraordinary ‘David vs Goliath’ drama in which the defendents defend themselves against McDonald’s highly paid corporate lawyers. When it’s over, it’s called it the ‘biggest public relations blunder in the history of public relations blunders’. It’s the earliest example we have found of the ‘Streisand Effect ‘in trade justice activism: where efforts to silence a critique of corporate misbehaviour backfire so spectacularly that the critique is amplified! Millions of people around the world got to know about Steel and Morris’ leaflets because McDonald’s sued them in court and because Franny Armstrong filmed what happened! TV channels couldn’t show her film because they feared McDonald’s will sue them. But McLibel film became a ‘cult classic’, nevertheless. The 2005 remake – with added courtroom re-creations – was released on DVD after films like Morgan Spurlock’s Supersize Me focused mainstream criticism on McDonald’s. In 2016, Armstong’s production company released McLibel in full on YouTube. Everybody could see it now. In 2024 it gained renewed attention when the young lawyer who gave Steel and Morris legal advice became the UK’s Prime Minister: Keir Starmer.

Page reference: Hannah Doherty, Rosie Benbow, Philippa Day, Meike Schwethelm, Hannah Griffiths and Alice Nivet (2013) McLibel. followthethings.com/mclibel.shtml (last accessed <insert date here>)

Estimated reading time: 59 minutes.

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Diamonds Are From Sierra Leone

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Gifts & Seasonal

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.

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Tackle The Shackles

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Security

Tackle The Shackles
Two protests organised by Reprieve, Amnesty International, Save Omar Campaign & the Birmingham Guantanamo Campaign at Hiatt & Co, 111-115 Baltimore Road, Birmingham, UK (see map) on 8 September 2005 & 11 January 2007.
Selected photographs above. Featured in a scene from the documentary film ‘Taking Liberties since 1997’ (check streaming availability here and start at 1hr 20 minutes).

British citizens and residents are detained in the USA’s Guantanamo Bay detention centre, but none are charged with a crime. They notice the Hiatt & Co. leg irons restraining them are ‘Made in England’, or ‘Made in Birmingham’, just like them. When some go on hunger strike in 2005, and when the 5th anniversary of the camp’s opening takes place in 2007, musicians, doctors, lawyers, comedians and activists protest outside the Birmingham, UK factory where they are made. They dress as Guantanamo inmates and dance the ‘shackle shuffle’ to a live band performing on a flatbed truck. Former detainees, their family members, lawyers, celebrities and activists carry photos of detainees and give speeches. People chain themselves to railings and deliver a cake to the factory. Historically, protestors say, leg irons and other restraints were made in Birmingham to chain enslaved African people in the days of the British Empire. Their use at Guantanamo, they argue, is unethical and illegal. Does the export of these leg irons comply with the UK Government’s obligations under International law? Especially as Hiatt is owned by the UK’s BAE Systems and because the New Labour Government of the time had been loudly trumpeting its ‘ethical’ foreign policy. One detainee’s lawyer says, ‘If an ethical foreign policy means anything, it means not profiting from the torment of our own people.’ The protestors want to make this paradox mainstream news, and they succeed. In this trade justice activism, the violence and exploitation is found not where the commodity of produced, but where it is ‘consumed’. Hiatt closes its Birmingham factory and moves production to the USA. So, does this trade justice activism count as a success?

Page reference: Diana Shifrina (2013) Tackle The Shackles. followthethings.com/tackletheshackles.shtml (last accessed <insert date here>)

Estimated reading time: 54 minutes.

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The Messenger Band

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Fashion

The Messenger Band
A protest girl band / labour rights NGO including Em [aka Saem] Vun, Leng Leakhana, Chrek Sopha, Nam Sophors, Kao Sochevika, Sothary Kun, Van Huon & others based in Phnom Penh, Cambodia.
Band profile and selected music videos on YouTube embedded in playlist above. The Messenger Band YouTube channel here & facebook page here.

One of the most fascinating, inspiring examples of creative trade justice activism we have found. Made by garment workers, for garment (and other) workers. In 2005, a labour rights NGO based in Phnom Penh, Cambodia hold a talent concert for women working in the city’s garment factories. They want to form a girl band. Inspired by Bob Marley, it’s called ‘The Messenger Band’ because its songs and performances will carry a message to garment and other workers about their rights. They will write and perform in the style of contemporary Cambodian pop music. Sweet and beautiful songs with choreographed dance routines. But the lyrics will come from their community research with garment and other workers about their lives and struggles, and their knowledge of global trade and labour rights. They will record CDs and music videos to post online, and will perform at local concerts and during labour rights protests. Their audiences will learn the lyrics and sing along. The ‘MB’ wants to empower its audiences to claim their rights and to hold their employers to account. They sing in Khmer for Khmer-speaking audiences. They are not talking to overseas consumers, asking them to do anything to help their situation. They take advantage of the fact that women and performance are not taken seriously by the Cambodian authorities. But they are taken seriously by the working class audiences who love and learn from their music. What they do has a huge impact. Much more impact than a labour rights workshop! Labour rights organisations and NGOs outside Cambodia admire their work. They are an inspiration.

Page reference: Lily Bissell, Grace Hodges, Fran Ravel, Julia Sammut & Ellie Reynolds (2020) The Messenger Band. followthethings.com/the-messenger-band.shtml (last accessed <insert date here>)

Estimated reading time: 62 minutes.

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Confessions Of An Eco-Sinner

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Fashion | Grocery

Confessions Of An Eco-Sinner”
A non-fiction book by journalist Fred Pearce.
Available to preview on Google Books (embedded above).

British journalist Fred Pearce travels 180,000 miles, to over 20 countries, to meet the people who produce (and sometimes recycle) the prawns in his curry, the cotton in his shirt, the computer on his desk, the gold in his wedding ring, and many other things. He wants to explore his own personal ecological footprint, and to work out whether he should be ashamed and/or proud of the impact that his shopping has on the world. This is classic ‘follow the thing’ research. A quest narrative. Starting in the Global North. With a person asking ‘who made my stuff?’ They travel the world to meet the people who they rely upon and then reflect on what this means for them (and maybe you) as a ‘consumer’. This is an approach that critics within the ‘follow the thing’ genre would like to ‘de-centre’. This work could start somewhere else! But what can readers learn from Fred’s travels nonetheless? Is everyone, unknowingly, an eco-sinner like he is? And what can be done to prevent the damage that consumption causes, out of sight and out of mind?

Page reference: Robert Black, Naomi Davies, Tom Mead, Pete Statham, Lucy Taylor and Laura Wilkinson (2011) Confessions Of An Eco-Sinner. followthethings.com/confessions-of-an-ecosinner.shtml (last accessed <insert date here>)

Estimated reading time: 17 minutes.

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