For the past six weeks, Exeter Geography graduate Natalie Cleverly has been working as a nicely paid intern on the ‘follow the things’ project. She took the Geographies of Material Culture module that’s generated our site since 2008, but in its new 2020-21 online iteration. And, this summer, she read every ‘compilation’ page on our website, looking for timely events about each page to post on our Twitter and Instagram because they happened ‘on this day’. As Natalie was finishing up, we asked her what it had been like to read the whole site. We don’t know anyone else who has done this! What do you learn? What’s been happening to ‘follow the things’ activism since we first opened our store ten years ago? Here are her thoughts.
Last September, I began the Material Cultures module at Exeter University. Since I’d chosen the module five months prior, the world had turned so upside down and inside out that I’d forgotten what I’d even signed up for. But I was fascinated. Particularly by followthethings.com itself. It wasn’t like any research project I had seen before. I reached out to Ian – who ran the module and the website – ‘Is there any way I can help?’.
And here we are. I’m not a followthethings.com expert, but after reading through 70+ pages of the website (almost the whole thing!) I’ve gained a good insight. So, what did I take away from sifting through all these years of content around activism / filmmaking / grassroots organising / following-the-thing?
A lot.Continue reading
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.
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
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.
In February this year, Ian, Charlotte Brunton and Jenny Hart contributed to a Pedagogy Cafe seminar at Plymouth University’s Centre for Sustainable Futures. They talked about Geographies of Material Culture coursework (a university lifestyle catalogue and a singing heart pacemaker) now published on our site. What happened next was surprising. Plymouth lecturer Helen Bowstead talked about her use of ‘follow the things’ research to teach English as a Foreign Language. Here’s what she said.
The benefits of group work have been well-documented: Gibbs claims working as a group “has the potential measurably to improve student engagement, performance, marks and retention and usually succeeds in achieving this potential” (Gibbs 2010:1). However, successfully implementing and assessing a piece of group work is also often fraught with challenges, particularly when the students do not share a common language and/or cultural background. In groups where some or all students are non-native English speakers, there may be an ‘imbalance’ in power relations, as the ideas and views of the students with ‘stronger’ language skills often end up dominating. In many instances, non-native speakers find themselves side-lined within the group, sometimes because their language skills are weaker than other members, but also because, due to cultural and educational differences, their knowledge base is perceived as having less ‘value’.