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Red Dust

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Electronics | Home & Auto

Red Dust
A documentary film directed by Karin Mak in Mandarin and Sichuanhua with English subtitles
Trailer embedded above. Watch in full on Labournet TV here. Website here.

A woman called Ren leaves beautiful rural Sichuan, China to work in a nickel-cadmium rechargeable battery factory in the city of Huizhou. Thousands of women like her do this. It’s an exciting opportunity to life yourself and your family back home out of poverty. But it creates the kind of pool of surplus cheap labour that attracts foreign investors. After years working at a GP factory making batteries for Wa-Mart, Mattel and Toys R Us, Ren and her workmates have been poisoned by the red cadmium dust in the air. They aren’t told that there’s a risk that this could poison their internal organs, leave them breathless, give them frequent headaches and cause them to endure chronic pain. There’s no protective equipment. This poisoning affects what they can do with their lives, including whether it’s safe to have children. And the medicines are expensive, especially when your pay is so low. There’s a striking contract here between disposable workers and reusable batteries. Chinese female workers have historically been stereotyped as quiet and passive, but Ren and her workmates behave assertively in response to what’s happened to them. This is what attract’s American filmmaker Karin Mak to their story. She follows Ren and her friends Min, Fu and Wu as they find out more about cadmium poisoning, gather evidence and demand justice from local government and the battery manufacturer. What’s distinctive about this film is that it’s an early example of trade justice documentary filmmaking that humanises Chinese workers, and shows their resistance to the low pay and dangerous working conditions that are so well known otherwise. It doesn’t start from a consumer perspective. And it asks its viewers to take action, not as consumers but as citizens who can write to GP batteries. The text of the letter can be copied from the film’s website. This is Karin Mak’s thesis film, part of her studies in social documentation at the University of California, Santa Cruz. She’s the filmmaker who worked with SACOM to make their Those With Justice film (on our site here) three years previously. She’s not making this for mainstream consumption. She’s not worrying about its funding. She wants to portray these women’s struggles vividly and sympathetically.

Page reference: Alex Alonso, David Tagle and Jennifer Reis (2011) Red Dust. followthethings.com/red-dust.shtml (last accessed <insert date here>)

Estimated reading time: 15 minutes.

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Gravesend, 2007

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Electronics

Gravesend, 2007
An art work / short film by Steve McQueen premiered at the Venice Biennale and exhibited at the Renaissance Society in Chicago, USA in 2007 and at the Uneven Geographies exhibition at the Nottingham Contemporary Gallery, UK in 2010.
Gallery photo above. Renaissance Society exhibition photos here. Acquired by the Museum of Modern Art, New York, USA here. Not available to watch online.

After a decade of rare earth metal mining in the Democratic Republic of the Congo for use in the growing consumer electronics sector, and recognising the history of African colonial plunder artist Steve McQueen sets out to make a short film that brings this story into one piece of art work. He travels between the coltan mines of the DRC and a coltan processing facilities in the UK. The miners, sometimes children, dig coltan from muddy trenches. This is brutal and poorly paid work wrecks the environment and funds a civil war in which 4 million people have lost their lives. The specialist metals which emerge from this ravaged place are perfect ingredients for modern consumer electronics, because they can conduct electricity without getting too hot. McQueen visits a pristine, computerised factory facility in the UK where this coltan ore is processed. The film he makes out of these loaded and shockingly different elements is described by critics and viewers as abstract, poetic, animated (sometimes), deafeningly loud (sometimes), beautiful, intense, opaque, meditative, melancholy, that works though ‘phenomenological estrangement’, has no titles or narration and scenes and moods that leap between places and dissolve into one another. The coltan miners appear in it as ‘ghostly absences of light’. For McQueen, this isn’t a documentary film. It doesn’t give supply chain workers a voice. It’s a film about looking. It takes its name from a town in the British county of Kent, which sits on the banks of the River Thames where Joseph Conrad’s Heart of Darkness book begins. You can only watch it in an art gallery when it’s being exhibited. Some commenter are impressed with its intellectual purpose and depth, while others say they need to read the museum brochure to understand what it’s about (e.g. coltan). It seems from what people say that this isn’t an activist film or art work. It’s not setting out to motivate its viewers to understand and to act. But it is, for some, intensely haunting. Maybe you have to be there, watching it in that gallery space, with other people, other art work, the signage, the space, the lighting. This is a space where its viewers to ‘make the necessary connections.’

Page reference: Tom Bollands, Alistair Brouard, Amelia Cozon, James Hornsby, Phoebe Park & Louise Richardson (2024) Gravesend, 2007. followthethings.com/gravesend.shtml (last accessed <insert date here>)

Estimated reading time: 25 minutes.

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A Global Positioning System

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Electronics | Home & Auto

A Global Positioning System
A art work / animated film created by Melanie Jackson, first exhibited at the Arnolfini Gallery, Bristol, UK.
Two screengrabs from the film are featured above. Watch it in full on the artist’s website here.

If you’re interested in finding out who makes your stuff, it’s important to make a strategic choice about what stuff is best to follow. Artist Melanie Jackson makes an excellent choice – what better to guide your way than the technology that helps to guide your way. An in-car GPS Navigation Assistant. The kind of device you could buy in the 2000s to stick to your dashboard. Type in the destination, and it would help you on your way, showing the route on screen. She gets some funding for a trip to China to visit a factory where they are assembled. But this isn’t anything like enough of the story of this thing. She looks into its in many many ingredients, and finds out where and by whom they are sourced. She reads news stories, collects photographs, and turn to drawing to bring all of these connections together into a 12 minute animated film. There’s something magical about animation. It’s obvious that animation is not an objective account of the life of a thing, but something that’s been imagined and made. Animation allows the complexities of trade to be conveyed in a way that would otherwise be impossible either because the scale of the task would be too enormous, or because permission would not be granted to access the industrial sites that matter. There’s a powerful argument that’s made about ‘follow the thing’ research that things can be – for these reasons – ‘unfollowable (see Hulme 2017). But animation – and other creative approaches to thing-following (click the ‘make the hidden visible’ tactic button) – provide means to work around this. This is a mind-blowing film. Its amazing what you can learn in 12 minutes!

Page reference: Ian Cook et al (2024) A Global Positioning System. followthethings.com/a-global-positioning-system.shtml (last accessed <insert date here>)

Estimated reading time: 20 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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Teleshopping AK-47

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Security

Teleshopping AK-47
A spoof teleshopping channel promotion directed by Dougal Wilson and post-produced by MPC for Mother, commissioned by Amnesty International.
Full video embedded above. Search online for versions with other titles here.

Amnesty International is trying to get 1 million people involved in their campaign to tighten loopholes in international arms trade legislation. To demonstrate how easy it is to buy weapons like AK-47 assault rifles, how cheap they are, and how they end up being used in armed conflicts (often involving child soldiers), they commission some culture jamming. Its a short video that imagines that these weapons can be sold by cheery presenters on TV shopping channel’s chintzy pastel-coloured set, just like ice-cream makers and his ‘n’ hers dressing gowns. They’re perfect for child soldiers, the presenters say, like those in Liberia and the Democratic Republic of the Congo. They give one to a child to demonstrate on set, who cheerfully shoots a mannequin to pieces. Amnesty commission this darkly comedic, camp and chilling 135 second film to show in cinemas, alongside the real ads. They publish it on YouTube. Later, it’s included as an extra on the DVD of Nicholas Cage’s Hollywood arms trade blockbuster Lord of War [see our page on its Life of a bullet opening credits here]. Amnesty can’t advertise on UK TV because they’re a political organisation. And the use of pastiche / parody / humour is a novel approach in human rights campaigning in 2006. But Amnesty really go for it. On top of the cinema ad, there’s a viral email campaign, spoof arms shopping catalogues are delivered through people’s doors, and pop-up high street weapons shops open around the UK with live shooting demonstrations. Commenters are shocked by this disgusting, deeply sinister but informative campaign. One says these weapons are beautiful and every American should have one. Another pretends to agree, saying that guns don’t kill people, people do and, if guns were taken away, people could just as easily kill eachother with knives or rubber ducks. Some say humour is inappropriate for such a serious topic. Others say the ad and the catalogue is so light, so beautifully done, so plausible, that it’s perfect for generating conversations about the international arms trade and its (lack of) regulation.

Page reference: Daisy Livingston (2024) Teleshopping AK-47. followthethings.com/teleshopping-ak-47.shtml (last accessed <insert date here>)

Estimated reading time: 30 minutes.

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The Luckiest Nut In The World

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Grocery

The Luckiest Nut In The World
An animated film written, produced & Directed by Emily James for Fulcrum TV, broadcast in the UK on Channel 4’s Alt-TV series.
Film embedded in full above. Search online for shorter versions and versions with subtitles here.

Who better to explain the rules of international trade than a commodity that has seen it all? An American peanut who wears a stetson hat, plays the guitar, and sings songs about the rules of world trade that work in his favour. Along the way he enlists help from experts and from public information films. Yes, he’s the ‘luckiest nut in the world’ and, as he learns about other less lucky nuts around the world (groundnuts in Senegal, cashew nuts in Mozambique, and brazil nuts in Bolivia), he finds out that it doesn’t have to be this way. All of the world’s nuts – and the people and economies that could benefit from growing and selling them – could be just as lucky is the rules governing world trade weren’t stacked against them. Filmmaker Emily James uses animation to do the impossible: to make these rules, and the inequalities they help to create, not only understandable but entertaining. The film becomes a hit with school teachers. Some of their students say they’re bored with its content, but others say they can’t help humming the songs, mouthing their WTO lyrics. It’s a catchy way to learn some pretty boring but important information about hope the world works (and years before Horrible Histories began). This is an early example of animated film doing what and academic cook or a documentary films cannot. In this case, making abstract content accessible, making the hidden visible, and explaining trade injustice to wider publics in an engaging – funny, weird, you name it – way. ‘What would commodities tell us about their lives if they could talk?’ is an intriguing question that’s answered in some of the earliest follow the thing ‘it-narrative’ writing [see our page on a 1760 travel novel written by a coin here]. ‘What would a commodity sing about its life if it could … um … sing?’ is a question answered, in our experience, only by this film. Thank you Emily.

Page reference: Ian Cook et al (2011) The Luckiest Nut In The World. followthethings.com/the-luckiest-nut-in-the-world.shtml (last accessed <insert date here>)

Estimated reading time: 19 minutes.

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B’eau Pal Water

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Grocery

B’eau Pal Water
A spoof commodity-based activist campaign created by the Yes Men and the Bhopal Medical Appeal.
Video playlist embedded above posted on YouTube by the Bhopal Medical Appeal.

It’s the 25th anniversary of the Union Carbide chemical factory explosion in Bhopal, India. It’s the worst industrial accident in history. 3,700 people died immediately. Between 8,000 and 25,000 people had died since. And up to 200,000 were permanently injured and countless more continued to be affected by the leaching of toxic chemicals into the water table. Still, the factory’s owners (Dow Chemical, who bought Union Carbide) refuse to pay compensation. So the Bhopal Medical Appeal get together with pranksters the Yes Men to design a new brand of bottled water. It’s a mineral water. B’eau Pal Water. A taste of Bhopal. “Bottled at source”, they say. Presented in a beautifully designed bottle. The Yes Men travel to Dow’s UK HQ to challenge its executives to drink it, just as Bhopal residents have for the past 25 years. When they arrive, the building is empty. Why won’t they drink this? When they offer it to passing members of the public , everyone understandably refuses once they know what’s in it. So is this campaign a success? Does it draw renewed attention to this long-running scandal? Is it OK that what they’re doing is ridiculous, funny, and that people are disgusted but also laughing about this prank? The Bhopal explosion wasn’t funny. So is this prank in poor taste? Is it offensive? Or can its humour embarrass Dow and bring the Bhopal factory explosion back into the news cycle? Can offering people a fancy bottle of toxic mineral water that they would never drink bring them closer to the people living in Bhopal who have no choice but to drink it? What’s the logical response to this? What has to happen to make this situation right? This bottled water later becomes a potent symbol of the compensation campaign at the 2012 London Olympics – where Dow is a corporate sponsor and a Bhopal survivor challenges the chair of its organising committee to drink it – and in Bhopal itself, when the victims and their families invite the Indian politicians and scientific advisors who had dismissed their complaints about contamination to a buffet of toxic delicacies including bottled B’eau Pal Water.

Page reference: Jack Parkin (2018) B’eau Pal Water. followthethings.com/beau-pal-water.shtml (last accessed <insert date here>)

Estimated reading time: 44 minutes.

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Fight The Heist

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Sport & Fitness | Fashion

Fight the Heist
An NGO campaign by Global Labour Justice & the Asia Floor Wage Alliance.
Campaign videos embedded in playlist above. Campaign webpage here. Campaign report here. Campaign X feed here.

Summary paragraph to be added.

Page reference: Ian Cook et al (2025) Fight The Heist. followthethings.com/fight-the-heist.shtml (last accessed <insert date here>)

Estimated reading time: 40 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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