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Anthropophonia Documentary

An animated documentary about noise pollution and the sounds around us.

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Anthropophonia Documentary

Anthropophonia Documentary

Anthropophonia Documentary

Anthropophonia Documentary

Anthropophonia Documentary

An animated documentary about noise pollution and the sounds around us.

An animated documentary about noise pollution and the sounds around us.

An animated documentary about noise pollution and the sounds around us.

An animated documentary about noise pollution and the sounds around us.

Ksenia Kirsta
Ksenia Kirsta
Ksenia Kirsta
Ksenia Kirsta
1 Campaign |
Ciudad de Mexico, Mexico
$245 USD $245 USD 10 backers
0% of $33,169 Flexible Goal Flexible Goal
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ANTHROPOPHONIA

 

An animated documentary about noise pollution and the sounds around us. A funny, personal journey through the soundscape of the big city, interwoven with interviews with prominent figures from the world of acoustic ecology.

 

OVERVIEW/ WHY WE’RE MAKING THIS FILM

We live in a visual culture and pay attention to visible things way more than to the things that we hear. Sound is always secondary. If we don’t like what we see we can just turn away and stop looking at it, but even covering our ears doesn’t allow us to escape sound – it surrounds us, we’re always inside it. We have many strict rules when it comes to visual etiquette: we don’t tend to watch pornography on the bus or walk down the street naked, because we know this would make most people around us uncomfortable. Some buildings even prohibit hanging laundry in a way that’s visible from the street because it looks ugly. However this doesn’t seem to apply as much to the sound we subject each other to. People accelerate violently, constantly use their car horns, play loud music out of cars and shops, and saturate public spaces with loud noises without thinking twice about how it affects the people around them. In many places there are no regulations on noise: planes flying over cities, jackhammers drilling into the ground, motorcycles roaring in the streets. Humans make noise themselves or with the help of machines of their creation, tiny or huge. This isn’t because they are bad people, but rather because there is a lack of awareness of the true impact that the soundscape we live in has on us.

To name just a few problems caused by noise pollution (in the EU alone):

• 6.5 million people suffer chronic high sleep disturbance

• As a result of aircraft noise 12,500 schoolchildren suffer reading impairment;

• 22 million people suffer chronic high annoyance.

 

Around the mid 20th century, people like John Cage, Raymond Murray Shafer, and Pauline Oliveros were pioneering the exploration of sound and silence, as well as teaching others how to pay attention and listen actively. There are now more people and institutions continuing their work (and some of them will be interviewed for the film). But it still feels more like an academic discussion rather than a focus for mainstream debate. It’s sometimes important for art to be created for other artists, and to have an internal exchange of opinions within the scientific community. However, there are urgent topics which must be explained clearly to a wider audience in an entertaining and engaging way. And that is what we want to achieve with this film.

 

ABOUT THE CREATOR

Hi, my name is Ksenia Kirsta. I’m an animation artist, illustrator and writer from Moscow. In 2018 I moved to Mexico City, a sonic environment which is overwhelming and at times completely absurd. Don’t get me wrong – there are way more things in this magical city that I truly love than things I can complain about. Mexico City is just one of many loud cities in the world. People living in New York or Kolkata, in Cairo and Tokyo also experience (and cause) noise pollution every day. Apart from being a daily nuisance, this has a real and measurable effect on our health and quality of life. Which makes it very important to talk about acoustic ecology and etiquette, and how deeply sound affects us.

A few years ago a friend told me that the first thing we forget about somebody is their voice. After that I got very curious about sound in general and our relationships with it. While doing research it struck me how hard it is to find easily digestible information on sound studies. It is a relatively young field, and most publications use dense, technical language which is hard to access  by people not well versed in the universe of sound, physics or music theory. That is why I came up with an idea to make a fun animated documentary/film essay on this topic. Now I have a small team – you will find information about these marvelous people below – and with your help we’ll be able to deliver this film to the world!   

 

WHAT WILL BE IN THE FILM

  • Interviews with sound researchers, acousticians, hearing doctors, urbanists and artists;
  • Personal stories about experiences with sound and noise;
  • A brief history of sound studies. We won’t be covering the early history of acoustic research, but will instead focus on the 20th century, especially the last decade;
  • Suggestions on what we can do ourselves to keep the sonic environment healthy, and what we should demand from authorities;
  • Overview of noise regulations around the world;
  • Tons of weirdness and absurd moments to keep you entertained.

Probably after watching the teaser with a burping pigeon and reading all this super serious stuff you are confused. Let’s get this straight: it’s going to be a funny film about a very serious issue!

 

THE TEAM

 

DIRECTOR - Ksenia Kirsta

I studied experimental film making in Moscow School of New Cinema, at the same time working at film festivals and art film distribution companies. Shortly after graduation, I switched to animation. In the past few years I've been involved in producing mostly educational videos for platforms in Mexico, Russia and USA.  I work with frame-by-frame, 2D, stop motion and collage animation.

 

MUSIC/SOUND - Simon Balthazar

Originally from Sweden, Simon Balthazar first made his mark as the songwriter and lead singer of the band Fanfarlo, which he formed after moving to London. Starting out on independent 7-inch labels, Fanfarlo grew to an international indie band who performed live on Late Show with David Letterman, contributed original music to the major film Twilight: Eclipse and were featured on several other notable film and TV soundtracks.

Simon is currently based in Mexico City. His recent work includes the scores of the dance performance C-RO commissioned by Adidas, and the feature film El Vestido De La Novia, as well as several artist projects including the band Hieronymous and experimental electronic duo Utter.

 

ANIMATORS: Pasha Cosmos, Konstantin Chicherin, Octavio Rivadeneyra.

Pasha is a Ukrainian multimedia artist specializing in 2D hand-drawn experimental animation and collage, with a background in contemporary art and cinematography. Kos is an art director, graphic designer and motion designer from Moscow, who is well versed in conceptual motion design and compositing. Pasha and Kos both are currently based in Tbilisi, Georgia and regularly collaborate. Octavio is a motion designer and photographer from Mexico City. Besides being good friends we have worked on many music videos and commercials. We have also worked together on several big educational projects covering topics such as pollution in big cities (HEVAS), the preservation of indigenous knowledge in Mexico (CONANP), and a brief history of philosophy (SYNCHRONIZATION).

 

BREAKDOWN OF COSTS:

  • 60% - animation;
  • 20% - music, sound, voicing;
  • 14% - producing and shipping the rewards;
  • 6% - festival applications.

 

TIMELINE

April and May 2023 (while the crowdfunding campaign is running) – additional research and interviews;

June – November 2023 (if we reach the goal) – production of the film;

December 2023-January 2024 – festival applications, producing and shipping the rewards.

 

RISKS AND CHALLENGES

The funding we are raising is calculated to cover the production of 25-27 minutes of animation. Producing something of this length would cost a whole lot more for a big studio, but we are independent artists and can achieve a lot more with limited means.  In case we don’t completely reach the funding target, we will adapt the script to a shorter length according to funds actually raised. This way you can be sure that no matter how successful the campaign itself is, we will still deliver a great film, even though it is possible that it ends up shorter than the 25 minutes we are aiming for. Or longer, if we exceed the target!

 

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