Glengarry Glen Ross and Oxfam Land Grabs’ campaign

In the previous post we showed a publicity campaign which manipulates pictures. In this one, we show a video which reinterpret a classic film. Oxfam America, for its campaign on land grabs, decided to copy and at the same time, to modify a famous scene in “Glengarry Glen Ross” (1992).

Glengarry Glen Ross, adapted from a play by David Mamet, tells two days in the lives of four salesmen and how they become desperate when the corporate office sends a representative, Blake, to “motivate” them. Blake, among a series of verbal abuse on the men, announces that only the top two sellers will stay in the company and the rest of them will be fired.

Here is the scene:

Here is Oxfam America’s interpretation:

I imagine that the intention of the video was not only to create surprise on the audience through the script but also to make a link with the original film. In such a way, the message will be made more powerful through its references.

Does it work in this sense? I have some doubts. It is well filmed and staged and obviously it refers to a film which had an excellent casting (Al Pacino, Kevin Spacey, Ed Harris and  Alec Balwing among others) and which received good reviews. But, do you know the film? I did not. Do the receptors of the campaing know the film? Probably not, it seems that in America it did not have commercial success.

So, was it worthy to recreate the whole scene – and obviously invest the money- to refer to a film that probably very few people have seen? And if they do not make the connection to the original film, will they able to stand the shouting to get the message and to make sense of it?

(Many thanks to Shani Orgad for letting me know about these two videos)

Latest MSF ‘Starved for Attention’ piece rather lacklustre

Back in September I posted that the new MSF ‘Starved for Attention‘ series of videos made in collaboration with VII were well worth a view. However, I’m not so sure about the latest offering, ‘Kenya & Somalia: Why do we have to wait for a crisis?‘ We are subjected to a series of choppy edits throughout (the narrative reasoning for this is rather lost on me) consisting of image after image of people queuing for food, naked kids in desolate landscapes and the occasional dried animal carcass. Not that these scenes don’t exist, but it is a rather tired approach (that their other pieces seemed to avoid). It is not until halfway through, when the piece has moved its focus from Kenya to Somalia, that we hear from any of these people themselves. And then only for about 30 seconds. We don’t hear from anyone in Kenya.

Instead we have a narrative from an MSF expert on nutrition. Not that this isn’t interesting – I certainly learnt something about the inappropriate food supplied in such emergencies, and the new alternatives MSF is trying to push. As a technical lobbying piece it has some merits, but as a public engagement tool I wonder if a stronger emphasis on the people pictured would have helped us understand what it meant to be in need of such support? Just because the solution is technical – switch from this suppliment to this more effective one – doesn’t mean you have to tell a bland, technical story. As a result I wonder how engaged viewers will be by the end? Enough to click through to the petition?

‘Hold the Sun in your hand’ – Greenpeace solar project in Kenya

When I first saw this set of photos by Stanley Greene for Noor I felt some affinity as they deal with the challenge of securing electricity in poor communities. At this time of year Nepal is in its darkest days (literally) of ‘load shedding’ – or more accurately – power cuts. The cuts last 14 hours per day at the moment, but will undoubtedly go up to 16 or 18 hrs before the monsoon arrives to power the river-fed hydro projects. In 1996, I spent 4 months in a village here that was yet to be connected to the grid – thus no refrigeration or electric light (have you ever tried reading by kerosene lamp?). Solar would work here but most community projects look to micro-hydro due to initial installation costs.

Projects like those shown here run by Greenpeace are not going to address the state’s failure to keep up with the power demand of the country. The resulting economic impact of such a huge short fall of electricity, or for that matter the slow pace in connecting remote communities outside major urban centres (or informal settlements within) will not be dented by solar power running a few lamps or computers. However, for the communities they may make all the difference in being able to study or keeping produce fresh for retail. The solar lamp scheme pictured by Greene – where members of the Kibera Community Youth Programme (KCYP) were trained in assembling solar powered lamps is the type of initiative Greenpeace should be spending its time promoting (rather than its boys-with-toys adventure activism nonsense).

Now, lets hope there is enough power for me to watch England vs. India in the Cricket World Cup this afternoon…

The ‘Base of the Economic Pyramid Project’

Interesting initiative by Jonathan KalanBoP (Base of the Economic Pyramid – which is basically those 4 billion people without access to financial services, living in informal settlements and paying high prices for basic commodities). Jonathan, rather than seeking out situations of poverty to document looks to ‘discover, document and share stories of remarkable social entrepreneurs, enterprises and innovations that are redefining poverty alleviation. Through visual journalism and media, teach people about the growing BoP movement and the viable alternatives to traditional aid.’

Check out this article by Jonathan on PhotoPhilanthropy.

Humanitarian visual communication and documentary photography in the London International Documentary Festival

For the first time, the London International Documentary Festival will include this year (26 April-8 May) documentary photography in its program. Together with two 5-day intensive Documentary Photography workshops organized in collaboration with Magnum Photos,  the Festival is organizing two photography exhibitions and a talk on new approaches to humanitarian visual communication in association with WaterAid

The two Documentary Photography workshops will be lead by internationally Magnum photographers Donovan Wylie and Olivia Arthur. Donovan’s workshop will concentrate on documenting urban spaces and their populations. Olivia’s women-only workshop “will give ten female photographers the chance to develop their individual visual language and really boost their portfolio in this heavily male dominated industry”.

As part of the festival, the photographer Toby Smith is exhibiting 44 photographs at the Barbican Mezzanine. Toby Smith has carried out a project to document illegal deforestation in Madagascar. He first identified the logging areas before documenting the activity deep within  UNESCO protected rainforests. The project has now been published in GEO magazine (Germany) after being embargoed as evidence in international courts. Admission is free. You can see the full Madagascar series by T. Smith here.

© Toby Smith/Reportage by Getty Images

Salt Water Tears, the second exhibition at the LIDF, presents the work of photographer Munem Wasif which shows the Satkhira region of south-east Bangladesh. As a result of climate change and unplanned shrimp farming this region experiences erratic rainfall and a steady increase in the salinity of the water table, making safe water increasingly scarce.  Changes in the environment now mean that villagers are forced to venture deeper into the Sunderbans forest to make their living and search for water, resulting in an increase in people killed by Bengal tigers.  These images were made for international NGO WaterAid and they are exhibited at the Free World Centre. Admission is free.

© Munem Wasif, courtesy of Prix Pictet 2008

The festival will organize on the 26th April a talk, Developing the photographic: new approaches to humanitarian visual communication, which “will outline new approaches to communicating humanitarian issues using photography”.  The speakers, Abbye Trailer-Smith (photographer), Emma Boyd (co-ordinator at Autograph ABP) and Jessica Crombie (picture- editor at Water Aid) “will outline three models that photographers and artists are using to communicate issues”.

Abbye will be showing her work ‘Still Human, Still Here’, made in collaboration with Amnesty International. With this multimedia piece Abbye “has used still imagery and testimony to create an extremely effective piece of communication for use by the NGO across different medias”.

Emma “will look at how visual artists are working with photography to make issue based artworks for gallery spaces”. Some of the artists Emma will be looking at include Alfredo Jaar, Omer Fast, and Marcelo Brodski. Jessica will be showing the work of Ursula Biermann and “will be discussing how NGOs can work with artists to create tools for more in-depth communication with supporters”. Admission is free but booking is required: bookings@freewordonline.com. Free World Centre, Monday 26th April 2010, 18:30 pm

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