Category: corporate behaviour

How strategic impact documentary can contribute to the Fashion Revolution: the True Cost

It’s Fashion Revolution Week this week. To mark this, we’re showcasing our favourite examples of cultural activism which have supported its #whomademyclothes call to action. On Monday, we showcased the Guerrilla Projections of documentary photographer Ismael Ferdous. On Tuesday, we showcased the gentle Shop-dropping activism of the Craftivist Collective. And yesterday we showcased the power of Disobedient Objects like Fashion Revolution Germany & BDDO’s €2 T-shirt vending machine.

Today’s post focuses on a strategic impact documentary called the True Cost. This aims to unravel fast fashion’s grim and gritty supply chains in the wake of the Rana Plaza collapse. It juxtaposes scenes of fashion models strutting catwalks, YouTube shopping hauls, footage of Black Friday shopping chaos, TV news footage of garment workers sewing clothes in cramped factory spaces, talking head interviews with factory workers and owners, farmers, former corporate executives, academic experts, famous activists and ethical fashion royalty, brands working ethically, key people from NGOs like War on Want, and champions of free market economics.

What’s distinctive about the True Cost and the impacts that it has had is that it was crowd-funded, released via iTunes and Netflix, and tries to channel its audiences’ concerns to ‘do something’ through public screenings with panel discussions, its website and associated social media. This film enrolled its audiences from its crowd-funding forwards. It was a conversation, a collaborative ‘do something’, from the beginning. Despite its lack of mainstream funding or cinema listing, the making, reception and impacts of this film in relation to the Fashion Revolution have been nothing short of stunning. We’re posting this today because CEO Ian is on a True Cost panel in Portsmouth tonight. It’s a textbook example of the emerging genre of strategic impact documentary.

Further reading

Judith Hefland & Anna Lee (2012) Put movies in the hands of movements. in Andrew Boyd (comp.) Beautiful trouble: a toolbox for revolution. New York: O/R, 164-5

Kate Nash & John Corner (2016) Strategic impact documentary: contexts or production and social intervention. European Journal of Communication 31(3) 227-242

Commodity activism in a transmedia world: our latest publication

There’s an academic publications page on our blog that gives a taste of, and provides access to, our research papers about the followthethings.com project. A book chapter has just been published in an open access e-book that brings together a series of lectures in Switzerland asking if and how social scientific research can transform society. Our answer is a qualified yes.

Cook et al, I. (2017) followthethings.com: analysing relations between the making, reception and impact of commodity activism in a transmedia world. in Ola Söderström, Laure Kloetzer & Hugues Jeannerat (eds) Innovations Sociales: Comment les Sciences Sociales contribuent à transformer la Société, MAPS: Université de Neuchâtel, 50-61 Full Text

What we are keen to find out are what filmmaking, artistic and activist tactics lead to what kinds of public and corporate responses, and with what kinds of impacts on whom. There is an established argument that, when this work is didactic and tries to enroll its audiences through blame, shame and guilt, it tends to fail. Audiences feel powerless, overwhelmed, apathetic, and angry at those making them feel this way rather that at the injustices exposed (Barnett 2010, Sandlin & Milam 2008, Cook & Woodyer 2012). Even the most cursory examination of our website suggests that the elements of, and relationships set out in, this argument are quite narrowly defined. To illustrate this, we offer below a taste of what’s to come from the analysis of the followthethings.com archive. We provisionally outline one engagement tactic, one kind of consumer response, one kind of corporate response, and one kind of impact.

Beautiful Trouble: $1 eBook

In the wake of the Trump election in the USA, our favourite book is now available at discount prices – e.g. $1 as an eBook – until the end of this week:

It’s perfect of our purposes and is available until the end of this week – in the wake of the Trump election – for only $1 as an eBook. It comes with a free study guide. There’s a website, too. But books are best!

Shopping and subversion

This week, for the module behind our website, we held an arts and activism symposium at the University of Exeter. One of our speakers was artist Louise Ashcroft, who worked with us on our sister project the Museum of Contemporary Commodities earlier this year (what she made is here)Never have we heard students laugh so hard and be so inspired in an academic classroom. Watch Louise’s TED talk and you’ll see what we mean.

 

Brandjamming the John Lewis Christmas ad to #stopfundinghate

 

Our Arts & Activism Symposium @exetergeography today

Today is an exciting day in the university module that powers our website. It’s our annual Arts and Activism Symposium, funded and hosted by the Department of Geography at the University of Exeter. Here’s the line-up and some background info on the projects our speakers will be talking about. After this, our students develop their own commodity activist work.

screen-shot-2016-11-07-at-21-12-391) Orsola de Castro: watch this

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Do ‘follow the thing’ documentaries affect their audiences?

This is one of the questions that drives our work at followthethings.com. We tend to find our answers – yes, no, maybe, depends, etc… – in the user-generated comments on video-sharing websites like YouTube and in the comments on newspaper reviews. We’re currently wading through thousands of comments on a 2015  ‘follow the fashion’ film called The True Cost, and came across this powerful video response. We’re giving a paper about the True Cost and fashion activism at a conference next month. There’s an argument in the literature that work like this makes prescriptive arguments about responsibility that are so infinitely demanding they can generate a sense of powerlessness in consumer audiences. This doesn’t seem to be the case, at least for this viewer. Watching this film was a powerful experience. For us, this kind of response changes the question that’s asked. Now it’s ‘how do ‘follow the things’ documentaries affect their audiences? What vocabulary can we develop to describe this? That’s what we’re working on.