{"id":25829,"date":"2025-07-09T13:28:54","date_gmt":"2025-07-09T13:28:54","guid":{"rendered":"https:\/\/followthethings.com\/?p=25829"},"modified":"2026-03-03T14:17:49","modified_gmt":"2026-03-03T14:17:49","slug":"choose-the-emotion-that-wont-let-go-then-hit-record","status":"publish","type":"post","link":"https:\/\/followthethings.com\/?p=25829","title":{"rendered":"Handbook: advice to filmmakers"},"content":{"rendered":"\n
\n
\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n\n\n\n

FEATURED EXAMPLES<\/h4>\n\n\n\n

Girl model
Mangetout
The ginger trail
Ghosts
Primark – on the rack<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n

INGREDIENTS<\/h4>\n\n\n\n

INTENTIONS<\/h5>\n\n\n\n

Pop the bubble
Cross cultures
Tell the truth
Show capitalist evils
End violence & exploitation
Change corporate behaviour
Teach economic geography<\/p>\n\n\n\n

TACTICS<\/h5>\n\n\n\n

Have a theory of change
Target the right brand
Follow the thing
Tell the truth
Tell a story
Include emotion
Encourage empathy
Find & give inspiration
Workers take the mic!
Find a character
Create a character
Bring managers into view
Show the violence
Include suffering kids
Juxtapose extremes
Blame, shame & guilt
Encourage feminist solidarities
Add mood music
Silence your critics<\/p>\n\n\n\n

RESPONSES<\/h5>\n\n\n\n

This is so sad
This is disgusting
I’m so angry
I just cried
These consumers are insane
Capitalism is sh*t
These people are inspiring
This gives me hope
I want to find out more<\/p>\n\n\n\n

IMPACTS<\/h5>\n\n\n\n

Now I know!
Now we’re talking
Activism is publicised
Activism is inspired
Debts are paid off
Governments intervene
Corporations change<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

\n

“Choose the emotion that won\u2019t let go – then hit ‘record’<\/strong>“ <\/strong><\/h1>\n\n\n\n
By Luke Elkington<\/h5>\n\n\n\n

IN BRIEF<\/p>\n\n\n\n

Student Luke Elkington has taken the ‘Geographies of material culture’ module at the University of Exeter. He’s been watching trade justice documentaries, analysing the comments on their followthethings.com pages, and making sense of them using a draft copy of ‘The followthethings.com handbook for trade justice activism’. He knows a thing or two about how trade justice documentaries work and what they can do. He’s been asked to imagine meeting a filmmaker who’s planning a new trade justice documentary. What advice could he give? Get inspired by the films he’s watched, and get the emotions right. Then record.<\/p>\n\n\n\n

More about this page.<\/summary>\n

We are slowly piecing together a followthethings.com handbook for trade justice activism<\/em> and are publishing draft pages here as we write them. This is an ‘advice’ page. The main text is an example of student work from the ‘Geographies of material culture’ module which followthethings.com CEO Ian ran at the University of Exeter in the 2024-25 academic year. Students watched 8 films, and read their pages on followthethings.com (with the expeption of an unfinished film called The ginger trail<\/em>). They were asked to pair the comments brought together on each of the films’ followthethings.com pages with the appropriate ingredients phrases (naming their intentions, tactics, responses and impacts – show in bold below) being drafted for the Handbook<\/em>. Using these phrases as a pattern language (see FAQs), students were tasked to work out how specific intentions (e.g. improve workers’ pay & conditions<\/strong>) needed specific tactics (e.g. flip the script<\/strong>) to generate different kinds of responses (e.g. this is disgusting<\/strong>), which could generate different kinds of impacts (e.g. audiences are empowered<\/strong>). [NB pages about each of these ingredients are coming soon] At the end of the module, students were asked to imagine that they had met someone who was about to make their first trade justice documentary. Drawing on what they had learned in the module, what advice could they give them on how to make it effective?<\/p>\n<\/details>\n\n\n\n

<\/div>\n\n\n\n

Question<\/h4>\n\n\n\n

How can I make an effective trade justice documentary? <\/p>\n\n\n\n

Answer<\/h4>\n\n\n\n

First things first, cos you\u2019re making a trade justice documentary, your film must<\/span> contribute to the Trade Justice Movement \u2013 or TJM. But what does that even mean?!?!? The TJM challenges unfair imbalances in power between trading nations by tearing up the rule book \u270a\ud83c\udffd and the goal is to create a global system which prioritizes the people \ud83d\udc69\ud83c\udffb\u200d\ud83e\udd1d\u200d\ud83d\udc69\ud83c\udffe and the planet \ud83c\udf0d (Bannister & Bergan, 2023). So, to be a trade justice documentary, your activism must try to shift power away from the capitalist class \ud83d\udc7f and toward supply chain workers \ud83e\udd17 (Wright, 2015). Easy right ?<\/p>\n\n\n\n

\n
\n
\"\"
Screenshot from <\/em>the Handbook<\/em>.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n

Now, for your film to be effective, its intentions must lead to real-world impact. To generate the greatest impact, I suggest having a theory of change<\/strong> \ud83e\udd14 AKA a strategy to maximize your film\u2019s effectiveness. This will help you focus on a specific TJM issue to create meaningful and<\/span> targeted \ud83c\udfaf change (Duncombe, 2023)!!!<\/p>\n<\/div>\n<\/div>\n\n\n\n

OK … let me tell you a story. It\u2019s 2008. I\u2019m watching \u26bd\ufe0f football. Age 6. Suddenly, it\u2019s half-time. A charity\u2019s plea for donations appears on the TV. Starving Sudanese children \ud83d\udc76\ud83c\udfff scatter the screen. Their exposed black ribs protrude from the telly stabbing \ud83d\udde1 into my young eyes – bringing them to tears \ud83d\ude22. WHY do I still remember? Emotions imprint far deeper than facts ever can – so your film must aim not just to inform, but to include<\/strong> emotion <\/strong>that will shake <\/strong>your viewer.<\/p>\n\n\n\n

In April, I walked past Primark. My attention focused on glossy posters of young girls \ud83d\udc67 posing. Slowly, their faces distorted into Nadya Vall from Girl Model. Filmmakers follow this 13 year old girl from Siberia to Tokyo, chasing her dream to become a model. But it falls apart and she cries for help. The image burnt \ud83d\udd25 into my brain \ud83e\udde0. I couldn\u2019t stop thinking about Nadya.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"
Screenshots of girl model Nadya Vall in Girl Model.<\/em><\/figcaption><\/figure>\n\n\n\n

Filmmakers use tactics to trigger \ud83e\udd2e \ud83d\ude2d \ud83d\ude22 \ud83d\ude2b \ud83d\ude21 \ud83d\ude33 \ud83d\ude0a. Girl Model finds a character<\/strong> in Nadya who ‘gives the film a clear protagonist'(Saito in Hambly et al., 2025, np) creating a bond between the viewer and Nadya (Nash & Corner, 2016). The film includes suffering kids<\/strong> \ud83d\udc67 as Nadya cries to return to her impoverished home which is contrasted with Ashley, Nadya\u2019s manager, who is free to wander her ‘cavernous Connecticut mansion’ \ud83c\udfe1 (Lucca in Hambly et al., 2025, np).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots of model scout Ashley Arbaugh in Girl Model<\/em>.<\/figcaption><\/figure>\n\n\n\n

By bringing a manager into view<\/strong>, filmmakers reveal Ashley\u2019s apathy through unsettling imagery – strange dolls \ud83e\ude86and eerie photo cut-outs of models – which underscore her ‘disconnection from the modelling world’ (Redmon in ibid) and Nadya (Natter & Jones III, 1993). These tactics together encourage empathy<\/strong> \ud83e\udd79by helping viewers really understand Nadya\u2019s suffering \u2192 which often makes viewers sad (Redmon in Hambly et al., 2025; Dant, 2012).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots of Ashley’s baby doll collection and covert snapshots in Girl Model.<\/em><\/figcaption><\/figure>\n\n\n\n

It worked! It\u2019s ‘saddening’ \u2639\ufe0f (Almachar in Hambly et al., 2025, np). I\u2019m so sad<\/strong>. Sadness is ‘a response to and feeling of loss’ (Kemp, 2025, p.44). Myself and others found Girl Model<\/em> pretty ‘disturbing’ (Cli in Hambly et al., 2025, np)\u2026.it\u2019s disgusting<\/strong> \ud83e\udd2e . These feelings are brought on by violations of morality and with these physical feelings of revulsion \ud83e\udd22, the film\u2019s message hits deeper into the viewer\u2019s heart \u2764\ufe0f (Ryyn\u00e4nen et al., 2023).<\/p>\n\n\n\n

By not ramming information down our throats, Girl Model<\/em> told the truth<\/strong> \u2013 ‘a verit\u00e9 narrative’ (Sabin & Redmond in Hambly et al., 2025, np) and this amplified \ud83d\udd0a the film\u2019s impacts \u2639\ufe0f \ud83e\udd2e (Sabin & Redmond in Hambly et al., 2025).<\/p>\n\n\n\n

Activism was inspired!<\/strong> Someone else made a film, people asked how they could create change, and conversations roared online \u2013 this engagement<\/em> with the film is the first step toward real change \u2026 now we\u2019re talking<\/strong> \ud83d\udcac (Sabin & Redmond and Bleasdale in Hambly et al, 2025).<\/p>\n\n\n\n

So now we know <\/strong>about Nadya\u2019s exploitation\u2026. our knowledge is the starting point for action \u270a\ud83c\udffd.<\/p>\n\n\n\n

Hold on \u26d4\ufe0f. Wenzel (2011) warns that consumers often confuse gaining knowledge with meaningful action. As a result, films can end up re-fetishizing commodities, simply generating new demand: dammit \ud83d\ude24 (ibid).<\/p>\n\n\n\n

BUT WAIT! Nash and Corner (2016) explain how to overcome this\u2026..emotions<\/em> can be just as powerful, if not more so, than knowledge. By fostering emotional<\/span> attachment to an issue, films have the potential to stimulate genuine action, not just passive awareness (ibid)!!!!<\/p>\n\n\n\n

OK, now I know emotions are important. Girl Mode<\/em>l got people \u2639\ufe0f and \ud83e\udd2e. Mangetout<\/em> got people \ud83d\ude21.<\/p>\n\n\n\n

Mangetout<\/em> popped the bubble<\/strong> by confronting Brits ‘with their most popular supermarket Tesco actually running a farm in Zimbabwe’ (Miller in Cook et al., 2025, np). Crossing cultures<\/strong> and following the thing<\/strong> traces the journey of mangetout peas \ud83e\udedb ‘from African soil to English dinner plate’ (Phillips in ibid) exposing the interconnected web of commodities and their externalities along the way (Callon, 1998). BAM \ud83d\udca5 my commodity fetishism \ud83e\udee7 was popped \u2190 Marx can #RIP \ud83e\udea6 (Cook et al., 2002).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots of the farm, the TESCO HQ & the dinner table in Mangetout.<\/em><\/figcaption><\/figure>\n\n\n\n

Tesco veg buyer Mark Dady travels to Zimbabwe bringing managers into view<\/strong>. He inspects Chiparawe farm [code \ud83e\uddd1\u200d\ud83d\udcbb for] he bullies farmers to grow the perfect \ud83e\udedb for minimal Ps \ud83d\udcb7 (Aaronovitch in Cook et al., 2025). Mark\u2019s arrival \ud83d\udeec is accompanied by imperial music to add mood music<\/strong> \ud83c\udfb5 which juxtaposes extremes<\/strong> with Zimbabweans singing ‘Tesco\u2019s our dear friend’ \ud83c\udfa4(Holt in Cook et al., np; Friedberg, 2004). Juxtaposition is useful to filmmakers cos it helps highlight stark inequalities (Wenzel, 2011)!<\/p>\n\n\n\n

A juxtaposition \ud83d\udc68\u200d\ud83c\udfeb masterclass\u2026\u2026\u2026<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots from Mangetout.<\/em><\/figcaption><\/figure>\n\n\n\n

Mark \u2b06\ufe0f demands farmworkers trim the \ud83e\udedb leaves for the consumer\u2019s benefit …! Grannie \u2b07\ufe0f explains her past traumas while a British consumer at a dinner party \u2b07\ufe0f says workers – like Grannie – ‘are probably happy in their mud hut’ (O\u2019Malley in Cook et al., 2025, np).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots of the dinner party guest and farm worker Grannie from Mangetout<\/em><\/figcaption><\/figure>\n\n\n\n

These tactics juxtaposes British consumers \ud83e\udd35\u200d\u2642\ufe0f with Zimbabwean farmworkers \ud83d\udc69\ud83c\udffe\u200d\ud83c\udf3e leading to a response of these consumers are insane<\/strong> \u2013 they\u2019re called arrogant, bstards, and c&*ts (in Cook et al., 2025). Contrasting consumers with producers provokes viewers to rally \ud83e\udea7 against the dinner party guests (Wenzel, 2011). Viewers were so angry<\/strong> \ud83d\ude21 at Tesco \ud83d\udc7f that they wanted to ‘kick in the TV’ \ud83d\udcfa (Jema in Cook et al., 2025, np). Anger helps prompt action by breaking viewer passivity (Chouliaraki, 2010). In response to Mangetout<\/em>, Tesco joined the Ethical Trade Initiative showing ‘the ability of film to intervene in the foodscape’ (Richardson-Ngwenya & Richardson in Cook et al., 2025, np). Corporations changed<\/strong> \ud83d\udca5\ud83d\udca5\ud83d\udca5 because of political consumerism (Stolle & Micheletti 2013).<\/p>\n\n\n\n

Effective<\/em>. Intentions \u2192 Impacts. But just a word of warning, triggering tooooo strong emotions can backfire. Chouliaraki (2010) \u2013 worth a read \ud83d\udcda btw warns of the boomerang (viewers resent blame, shame & guilt<\/strong> tactics ) and bystander effects (viewers feels powerless \ud83d\ude2c). The trick is to deliver enough emotion to spark action \ud83e\udde8 without triggering paralysis or resentment \ud83e\udee9.<\/p>\n\n\n\n

But The ginger \ud83e\udeda trail<\/em> doesn\u2019t trigger strong emotions at all. \ud83d\udc4e A major flaw?<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n
\"\"
Screenshots from The ginger trail.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

It\u2019s an I-Doc \ud83c\udfa6. Viewers choose clips \ud83d\udcfd and in what order they\u2019re watched. Interactivity facilitates participation in making a film rather than simply consuming it \u2192 this immerses viewers (Aston, 2022). This film teaches economic geographies <\/strong>(Ananthanarayana, 2025). It shows slow violence<\/strong> caused by ginger cultivation but it\u2019s hard to show violence that takes place over many years \u23f3 (ibid; Davies, 2022). It overcomes this by showing communities suffering consequences of slow violence which impacts viewers emotionally \ud83d\udc93 which is what Davies (2022) recommends!<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots from The ginger trail.<\/em><\/figcaption><\/figure>\n\n\n\n

Viewers wanted to find out more<\/strong>. To ‘work out the puzzle \ud83e\udde9 of seemingly disconnected clips’ (Anon in Ananthanarayana, 2025, np). But responses were ‘not emotionally charged’ \ud83e\udd26\u200d\u2642\ufe0f (ibid). Still, now we\u2019re talking<\/strong>; viewers ‘told their house about the film’ (ibid). \ud83c\udd92 Knowledge is dispersed. But was this an effective<\/span> film?<\/p>\n\n\n\n

IMO\u2026No. It nailed interactivity. But the lack of emotional response means the film risks creating passive awareness \ud83e\udd37\u200d\u2640\ufe0f rather than action (Nash and Corner, 2016). Films have<\/span> to get the viewer emotionally.<\/p>\n\n\n\n

That\u2019s where Ghosts<\/em> \ud83d\udc7b comes in. A fictional film. Based on the ‘true story’ (Broomfield in Allen et al., 2025, np) of 23 Chinese migrant workers who died \ud83d\udc80 at Morecambe Bay in 2004. It tells the truth \ud83d\udcaf and shows capitalist evils<\/strong> by telling the story<\/strong> of Ai Qin and ‘the chain of labour that exploits illegal immigrants’ (Romney in ibid). Telling stories are effective as they help viewers connect to characters which moves them emotionally \ud83d\udc93 (Nash and Corner, 2016). The film created characters<\/strong> AND found characters<\/strong>! Lead actors were Chinese migrants \u2192 ‘neither actors nor themselves’ (Martin in Allen et al., 2025, np).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"
Screenshots from Ghosts<\/em> (bottom right: Ai Qin goes food shopping).<\/figcaption><\/figure>\n\n\n\n

Oh and also, Ghosts showed the violence<\/strong> \ud83d\ude21\u2192\ud83e\udd15 workers endured in Morecambe bay forcing the viewer to imagine themselves there (Wenzel, 2011). These tactics combine to include<\/strong> (so much raw) emotion<\/strong> in Ghosts<\/em> meaning viewers know ‘this is the real thing’ (Anon in Allen et al., 2025, np).<\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"\"
Screenshot from Ghosts <\/em>of ‘the fight between indigenous and migrant
workers’ (Martin in ibid).<\/figcaption><\/figure>\n<\/div>\n\n\n

Then I cried \ud83d\ude2d. Having built an attachment to the workers, having seen the violence they were victims of, the scene where they drown \ud83c\udfca\u200d\u2640\ufe0f was TOO MUCH! It\u2019s difficult ‘ NOT to cry’ (Johnjoe66 in ibid). Viewers feel helpless which combined with feeling so sad<\/strong> \ud83d\ude1e they just cry<\/strong> \ud83d\ude2d (Frome, 2014). Ghosts<\/em> shows how ‘unchecked capitalism haunt[s] this deeply felt film’ (Geall in Allen et al. 2025, np). Ugggh, capitalism is sh*t!<\/strong> \u2190 \ud83d\ude22 \ud83d\ude21 \ud83d\ude29 \ud83e\udd2e.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshot from Ghosts.<\/em><\/figcaption><\/figure>\n\n\n\n

But … something positive … debts were paid off<\/strong> \u2190 ‘the crippling debts inherited by the families of the victims of the Morecambe Bay Tragedy have been paid off’ (Anon in ibid).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshot from the Ghosts<\/em> website.<\/figcaption><\/figure>\n\n\n\n

Emotion + Knowledge = Action\u2757\ufe0f2008 \u2192 2025 and a film still makes me \ud83d\ude2d. Ghosts<\/em> \ud83d\udc7b worked.<\/p>\n\n\n\n

Now, Primark on the rack<\/em> \ud83d\udc55\ud83d\udc57 worked but wait for the \ud83d\udc40 twist. It showed capitalist evils<\/strong> by exposing Primark\u2019s suppliers using child refugees from Sri Lanka as wage labourers in India, earning just ’19p a day’ \ud83d\ude1e (Williams in Adley et al., 2025, np). Capitalism f*cking failed these people \ud83e\udee9 (Chellan, 2023). By targeting the right brand<\/strong> – one with ‘170 stores nationwide’ (Williams in Adley et a., 2025, np), filmmakers tried to change corporate behaviour<\/strong> by ‘set[ting] up [their] target’ \ud83c\udfaf (Maroney in ibid). Exposing the discrepancies between Primark\u2019s brand image and reality hit \ud83d\udc4a them hard \u2190 exploiting their corporate vulnerabilities \u274c ruining reputations, provoking them to change (Micheletti & Stolle, 2008; Cook et al., 2019).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"
Screenshots from Primark – on the rack.<\/em><\/figcaption><\/figure>\n\n\n\n

Want a strong reaction? Like Girl Model<\/em>, include suffering kids<\/strong> \ud83d\udd00 Capitalism is sh*t<\/strong> \u2190 ‘An inequality-enhancing machine’ \ud83c\udfed (Wright, 2015, np).<\/p>\n\n\n\n

BUT THERE\u2019S A PROBLEM!!! The filmmakers [allegedly] \u26a0\ufe0f fabricated \u26a0\ufe0f a scene of children working in Bangalore \u2013 the ‘footage was not authentic’ (Greenslade in Adley et al., 2025, np). Child exploitation is socially unacceptable, and I think the filmmakers \ud83c\udfa5 took advantage of this to incite \ud83d\ude21 \ud83d\ude22 \ud83d\ude29 \ud83e\udd2e (Aguigar et al., 2008). Primark tried to silence \ud83e\udd10 their critics<\/strong> by challenging the filmmakers but this backfired because of the Streisand Effect <\/em>\u2192 activism was publicised<\/strong> \ud83e\udd2f (Cook et al., 2018). Prioritising PR \ud83e\uddefdrew more attention \ud83d\udc40 to their exploitation\u2026 ‘what about the other children that featured in THE REST OF THE ONE HOUR FILM’ (emilynew in Adley et al, 2025, np).<\/p>\n\n\n\n

With public outcry magnified \ud83d\udd0e, corporations changed<\/strong>. In 2013, the Rana Plaza clothes factory collapsed killing over 1,100 people in Dhaka, Bangladesh (Cook et al., 2018). Primark\u2019s response was to spend \u00a39 million \ud83d\udcb0to support local communities \u2013 or to (try) cover their arses (ibid).<\/p>\n\n\n\n

An EFFECTIVE film. But the filmmaker who exposed Primark also found out (ibid). The film would have triggered the desired anti-capitalist reaction without the fake footage \u2190 something to avoid \ud83d\udeab when making your film!<\/p>\n\n\n\n

Uh-oh, back to Rana Plaza. I\u2019m welling up. But I\u2019m crying \ud83d\ude2d because UDITA<\/em> is inspiring<\/em>.<\/p>\n\n\n\n

Over 5 years, UDITA<\/em> follows female garment factory workers in their mission for justice before and after Rana Plaza. Ending violence and exploitation<\/strong> was the goal – ‘Udita shows the agency of these women’ (Minney in Barker et al., 2025, np) to overcome injustice. It encourages feminist \ud83e\udd1c\ud83c\udffb\ud83e\udd1b\ud83c\udffd solidarities<\/strong> giving women greater confidence and knowledge to DEMAND their rights (Hale & Willis, 2007). Its ‘just the workers voices’\ud83d\udde3 (Rainbow Collective in Barker et al., 2025, np).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots from Udita.<\/em><\/figcaption><\/figure>\n\n\n\n

In UDITA<\/em> – workers take the mic<\/strong> \ud83c\udf99! Collective action is key to taking down capitalism (McLaren, 2019). By finding and giving \ud83c\udf1e inspiration<\/strong> – ‘like the inspirational Ratna Miah’ (Hoskins in Barker et al., 2025, np), there is one overriding response: these people are ‘inspiring<\/strong> on a global level’ (ibid) \ud83c\udf0d. Inspiration is powerful \u270a\ud83c\udffd cos it encourages the viewer to emulate the inspiring women in UDITA<\/em> (Thrash and Elliot, 2003). And the best bit? It worked alongside other emotions. This is so sad. I’m so angry<\/strong>. This gives me hope<\/strong> (Season Bangla Drama in Barker et al., 2025, np).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Screenshots from UDITA.<\/em> <\/figcaption><\/figure>\n\n\n\n

This hope encourages other people to continue with their own activism (Brown & Pickerell, 2009). UDITA<\/em> inspired activism<\/strong> as people globally challenge injustice through their own community campaigns \ud83e\udd17 -‘I am filming everything to collect evidence for our own community campaign’ (Salmon in Barker et al., 2025, np). And there\u2019s more! Governments intervened.<\/strong> In France, legislation changed because ‘Rana Plaza was covered by newspapers, petition of NGOs, film, documentary’ (Evans in ibid) like UDITA<\/em>. \ud83e\udd29 WHOA! That\u2019s real change \u270a\ud83c\udffd.<\/p>\n\n\n\n

RIGHT, so what\u2019s my answer???<\/p>\n\n\n\n

Effective films use emotions \ud83d\ude21 \ud83d\ude22 \ud83d\ude2d \ud83d\ude29 \ud83e\udd2e \ud83e\udd17 \ud83e\udee9 \ud83e\udd2f \ud83e\udd29 to provoke responses that galvanise action. So think carefully before locking in your theory of change<\/strong>. Choose the emotion that won\u2019t let go – then hit \ud83d\udd18 ‘record.’ By shaking viewers emotionally and making them feel injustice, you\u2019re not just making a documentary – you\u2019re starting a movement \u270a\ud83c\udffd.<\/p>\n\n\n\n

Think of Nadya \ud83d\ude2d, Grannie \ud83d\ude21, Ai Qin \ud83c\udfca\u200d\u2640\ufe0f, the children \ud83d\udc67 of Primark, and the women \ud83e\uddd5\ud83c\udffd\ud83e\uddd5\ud83c\udffd\ud83e\uddd5\ud83c\udffd of Dhaka.<\/p>\n\n\n\n

Effective films ignite emotion<\/strong>. Now you know. Get out there and inspire<\/strong> change! \u2728<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n

SOURCES<\/h4>\n\n\n\n

Adley, K., Keeble, R., Russell, P., Stenholm, N., Strang, W. and Valo, T. (2025) Primark \u2013 On The Rack. followthethings.com<\/em> (https:\/\/followthethings.com\/?p=2655 last accessed 27 April 2025)<\/p>\n\n\n\n

Aguigar, P., Vala, J., Correia, I. & Pereira, C. (2008) Justice in Our World and in that of Others: Belief in a Just World and Reactions to Victims. Social Justice Research<\/em> 21(1), p. 50-68.<\/p>\n\n\n\n

Allen, H., Heaume, E., Heeley, L., Hedger, R., Johnson, S., McGregor, O. and Webber, L. (2025). Ghosts. followthethings.com<\/em> (https:\/\/followthethings.com\/?p=10357 last accessed 27 April 2025)<\/p>\n\n\n\n

Ananthanarayana, B. (2025) Untitled [Q&A video & transcript], GEO3123: Geographies of material culture.<\/em> University of Exeter.<\/p>\n\n\n\n

+28 sources<\/summary>\n

Aston, J. (2022) Interactive Documentary: Re-setting the Field. Interactive Film and Media Journal<\/em> 2(4), p.7-18<\/p>\n\n\n\n

Bannister, L. & Bergan, R. (2023) A timeline of UK trade and trade justice. <\/em>London: Trade Justice Movement<\/p>\n\n\n\n

Barker, T., Collier, J., Baker, A., Coppen, L. and Eve, H. (2025) UDITA (ARISE). followthethings.com<\/em> (https:\/\/followthethings.com\/?p=1593 last accessed 27 April 2025)<\/p>\n\n\n\n

Brown, G. & Pickerell, J. (2009) Space for emotion in the spcaes of activism. Emotion, space, & society<\/em> 2, p.24-35<\/p>\n\n\n\n

Callon, M. (1998) An essay on framing & overflowing: economic externalities revisited by sociology. The sociological review<\/em> 46(1), p.244\u2013269<\/p>\n\n\n\n

Chellan, N. (2023) The life of capitalism. in his F\/Ailing capitalism and the challenge of COVID-19<\/em>. Leiden: Brill, p.180-216<\/p>\n\n\n\n

Chouliaraki, L. (2010) Post-humanitarianism Huamitarian communication beyond a politics of pity. International journal of cultural studies<\/em> 13(2), p.107-126<\/p>\n\n\n\n

Cook et al, <\/em>I. (2018) Inviting construction: Primark, Rana Plaza and Political LEGO. Transactions of the Institute of British Geographers<\/em> 43(3), p.477-495<\/p>\n\n\n\n

Cook et al, <\/em>I. (2019) A new vocabulary for cultural\u2013economic geography? Dialogues in Human Geography<\/em> 9(1), p.83-87<\/p>\n\n\n\n

Cook et al, <\/em>I. (2025) Mangetout. followthethings.com (https:\/\/followthethings.com\/mange-tout.shtml last accessed 27 April 2025)<\/p>\n\n\n\n

Cook et al, <\/em>I. (2002) Commodities: the DNA of capitalism.<\/em> (https:\/\/followtheblog.org\/wp-content\/uploads\/2015\/09\/commodities_dna.pdf last accessed 27 April 2025)<\/p>\n\n\n\n

Dant, T. (2012) Mediating morality. in his Television and the moral imaginary. Basingstoke: Palgrave MacMillan, 147-178<\/p>\n\n\n\n

Davies, T.,(2022) Slow violence and toxic geographies: ‘Out of sight’ to whom? Politics and Space<\/em> 40(2), p.409-427<\/p>\n\n\n\n

Duncombe, S. (2023) A Theory of Change for Artistic Activism. The Journal of Aesthetics and Art Criticism<\/em> 81, p.260-268<\/p>\n\n\n\n

Friedberg, S. (2004) The ethical complex of corporate food power. Environment and Planning D: Society and Space<\/em> 22, p.513-531<\/p>\n\n\n\n

Frome, J. (2014) Melodrama and the psychology of tears. Projections<\/em> 8(1), p.23\u201340<\/p>\n\n\n\n

Hale, A. & Willis, J. (2007) Women Working Worldwide: transnational networks, corporate social responsibility and action research. Global Networks<\/em> 7(4), p.453-476<\/p>\n\n\n\n

Hambley, A., King, E., Keogh, A., Renny-Smith, C., Callow, E., Thorogood, J. & Alloy, V. (2025) Girl Model: The Truth Behind The Glamour. followthethings.com<\/em> (https:\/\/followthethings.com\/girl-model.shtml last accessed 27 April 2025)<\/p>\n\n\n\n

Kemp, D. (2025) Comparing disgust and sadness: examining the interaction of emotion and information in charity appeals. Journal of Social Marketing<\/em> [online early], pp. 42-58.<\/p>\n\n\n\n

McLaren, M. (2019) Global Gender Justice: Human Rights and Political Responsibility. Critical Horizons<\/em> 20(2), p.127-144.<\/p>\n\n\n\n

Micheletti, M. & Stolle, D. (2008) Fashioning social justice through political consumerism, capitalism and the internet. Cultural Studies<\/em> 22(5), p.749-769<\/p>\n\n\n\n

Nash, K. & Corner, J. (2016) Strategic impact documentary: contexts of production & social intervention. European journal of communication<\/em> 31(3), p.227\u2013242<\/p>\n\n\n\n

Natter, W. & Jones III. J.P. (1993) Pets or meat: class, ideology & space in Roger & Me. Antipode<\/em> 25(2), p.140-158<\/p>\n\n\n\n

Ryyn\u00e4nen, M., Kosonen, H. & Yl\u00f6nen, S. (2023) From visceral to the aesthetic: tracing disgust in contemporary culture. in their (eds.) Cultural Approaches to Disgust and the Visceral. <\/em>London: Routledge, p.3-16<\/p>\n\n\n\n

Stolle, D. & Micheletti, M. (2013) Does political consumerism matter? Effectiveness and limits of political consumer activism repertoires. in their Political consumerism: global responsibility in action.<\/em> Cambridge: Cambridge University Press, p.204-243<\/p>\n\n\n\n

Thrash, T. & Elliot, A. (2003) Inspiration as a Psychological Construct. Journal of Personality and Social Psychology<\/em> 84(4), p.871-889<\/p>\n\n\n\n

Wenzel, J. (2011) Consumption for the common good? Commodity biography film in an age of postconsumerism. Public culture<\/em> 23(3), p.573-602<\/p>\n\n\n\n

Eric Olin Wright (2015) How to be an anti-capitalist today.\u2002Jacobin<\/em> 12 February (https:\/\/jacobin.com\/2015\/12\/erik-olin-wright-real-utopias-anticapitalism-democracy\/<\/a> last accessed 27 April 2025)<\/p>\n<\/details>\n\n\n\n

Image credits<\/summary>\n

Icon: conversation (https:\/\/thenounproject.com\/icon\/conversation-6769395\/<\/a>) by kliwir art from Noun Project (CC BY 3.0)<\/p>\n\n\n\n

Girl model<\/em> screenshots: credit Carnivalesque Films<\/p>\n\n\n\n

Mangetout<\/em>: credit BBC<\/p>\n\n\n\n

The ginger trail<\/em>: credit Bharath Ananthanarayana<\/p>\n\n\n\n

Ghosts: <\/em>credit Beyond Films<\/p>\n\n\n\n

Primark on the rack:<\/em> credit BBC.<\/p>\n\n\n\n

Handbook<\/em> screengrabs: credit followthethings.com<\/p>\n\n\n\n




<\/p>\n<\/details>\n\n\n\n

SECTION: <\/strong>advice <\/strong><\/h4>\n\n\n\n

Written by Luke Elkington, edited by Ian Cook (first published July 2025)<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n

<\/div>

<\/g><\/svg><\/i> \"Loading\"<\/p>

<\/div>","protected":false},"excerpt":{"rendered":"

FEATURED EXAMPLES Girl modelMangetoutThe ginger trailGhostsPrimark – on the rack INGREDIENTS INTENTIONS Pop the bubbleCross culturesTell the truthShow capitalist evilsEnd violence & exploitationChange corporate behaviourTeach economic geography TACTICS Have a theory of changeTarget the right brandFollow the thingTell the truthTell a storyInclude emotionEncourage empathyFind & give inspirationWorkers take the mic!Find a characterCreate a characterBring managers […]<\/p>\n

<\/div>\n

<\/g><\/svg><\/i> \"Loading\"<\/p>\n

<\/div>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1499],"tags":[],"class_list":["post-25829","post","type-post","status-publish","format-standard","hentry","category-handbook"],"_links":{"self":[{"href":"https:\/\/followthethings.com\/index.php?rest_route=\/wp\/v2\/posts\/25829","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/followthethings.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/followthethings.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/followthethings.com\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/followthethings.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=25829"}],"version-history":[{"count":20,"href":"https:\/\/followthethings.com\/index.php?rest_route=\/wp\/v2\/posts\/25829\/revisions"}],"predecessor-version":[{"id":26373,"href":"https:\/\/followthethings.com\/index.php?rest_route=\/wp\/v2\/posts\/25829\/revisions\/26373"}],"wp:attachment":[{"href":"https:\/\/followthethings.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=25829"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/followthethings.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=25829"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/followthethings.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=25829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}