Birdman: Mexican Digital Cinema And Sound

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Birdman: Mexican digital cinema and sound


Music and cinema seem concepts that do not keep any similarity, however, it is the soundtracks of film tapes that give life to the actions performed by the actors and actresses. Its function lies in strengthening ideas so that they can go further and express to what is not said on the screen, in the same way it is a link that gives truth the action. Such is the case of the film Birdman, made in 2014 and directed by the Mexican Alejandro González Iñarritu, tells the story of an actor, in this case under the performance of Michael Keaton, who fails to overcome that role that would launch him to fameIn its years of youth, as the title indicates the unexpected virtue of ignorance.


This interpreter seeks to desire to be someone again in the world of cinema, and its ultimate goal is to recover itself, but it is his huge ego who accompanies him, and it is while trying to set up a play on Broadway that goes through manydetermining moments in his life and artistic career. With a soundtrack in charge of the Mexican composer, Antonio Sánchez make this tape a single by the already known sequential planes and music created only at the rate of percussions. The work of my choice within this film is Shizo, which seems to me is part of one of the most decisive scenes within the film.

In which a turbulence within the mind of the main actor happens, in which I consider that with the formation of Antonio sitting in the bases of jazz, he creates a piece that transmits different sensations and that of the particular accompaniment to the scenes they executeThe great actors who are part of the cast. Antonio Sánchez is characterized by the peculiarity of sounds that he can create in a battery, he wants his studies in the INBA to his steps for the best schools in the United States, he was recognized by the most important composers in the world of jazz, however, it wasUntil this soundtrack was more recognized in Mexico.

Dhonding a little more, it is important how a drummer had never rejoiced with so much impudence in the anxiety of a man unable to escape his failure that is how this soundtrack is responsible for sounding the torments that a man with anxiety and thirst forfame, cataloged as a black comedy according to Iñarritu, is the accompaniment that this tape receives and is the way in which the digital cinema represents that I would like to highlight this time. It is with Shizo, a piece that happens just after reading an interview in the newspaper by the main actor of the main work, Keaton who, feeling extremely frustrated about it.

It begins to bother and that is when this song begins little byHe feels like a threat and music continues to intensify while claims the actor, until he stops while he expresses his feelings or that is what it seems, at the end of the scene he comes out furious and the drum is heard much stronger, unleashing his anger, giving a feeling of full anxiety faster and faster to the sound of the dishes, saying that that voice that hears cannot do it worse and has a moment of break.

With a tone, based on a melody made with percussions, creating different sounds, some more serious than others, and in conjunction with a harmony that with the same instrument or sounds that bind to the penalty, something quite interesting is created, withA rhythm and time that resembles the anxiety already described, a timbre of madness and dynamism, which is caused by the silence in part of the scene, creating the expectation of what will happen after. While this plays a very important role, it is with the changes that have taken it from the traditional to tapes like this, which can be seen not only as long as the effects on the main character when the famous Birdman appears.

Or only in the first scene with the special effects, where you can see the greatest feature of modernity is in the quality of the tape, in the way of recording and projecting this tape, as long as the first, it was with the already the alreadymentioned sequential planes that go to the avant-garde making this film different from the rest and that gives continuity throughout history and that New York theater, while as for the projection is with the post-production that the image canTo be in different formats, but it is even more visible when new ways of making music are merged and that the aesthetics and technique in innovations are tested.

Breaking paradigms worldwide with the endless nominations for tape awards. On the aesthetic, referring to the image as to music, it is importantFeel and to demonstrate it all you use is a battery, it is granted an even more special meaning, making the viewer feel, according to their context, an experience. It is due to the aesthetic experience of what is seen on the screen, that you can have different ways of perceiving the same act.

That is why there are criticisms that divide, that is why with digital people have many more options to contribute because the film bet is broader. It will always be difficult to talk about aesthetics, when it is sometimes subjective, and in this case, you can take two aspects, on the one hand, be so different from what we are usually used to listening that might seem absurd or simply noise, but on the other hand, and that is why I am inclined, which is an innovative form of expression, which although, can break with some established canons, you can see what a single instrument can do.

From something soft to something thunderous and it seems so clean that it is aesthetic. On the techniques, it was essentially in the process used to perform this topic, which is one of the first, only consisted of the description of the scenes and it was Antonio who lets his artistic and musical genius fly to complement it with what would later be recorded, because not only serves as accompaniment and setting, but these percussions go much further creating a different atmosphere of interconnection between the actors and what they do. It is very curious how they were created with only the use of scripts.

Since these scenes were recording at the same time that this process occurred, in Antonio’s ideation. When previously, the system was traditional. It was on some occasions that the musical process was different, in which it was preferred with visualization by Antonio, to know the scenes and to build the music, it was because he saw what the characters felt that he triedShow with the sound and percussions something similar to the heartbeat, which accelerated in the most important scenes and that was more rhythmic when it showed the daily passage of time. Almost as an improvisation of the moment and what would be heard inside people.

What would express how they feel at that precise moment. It is Antonio who believes that the final result is due to the process of creation of the recording, creating a kind of complicity between what the viewer can see on screen and the music he can hear. It should be noted that some of the moments that represented the greatest difficulty in this type of recordings, were referring to when in the scenes shows drummer, since the coordination of what was recorded in audio had to be carried out by the composer, together with what is represented inthe picture. It has been something so rare for the sound of a film.

That neither Hollywood is used to listening, that is why without being nominated as the best soundtrack in the Oscars, continues and will continue to be a watershed in the world of cinema and the peculiar way to create music. I would like to end externalizing that, in my opinion, the traditional media did not give the value that this soundtrack deserved, it is something that I had never heard and I think it was innovative by complementing what the actors lived, with their internal torments,It is certainly a different movie and its sound is equally. It is when interpreting this piece that I could learn new ways of seeing music not only as an atmosphere but as a language beyond words, I think, just by containing an instrument, I could see more in depth what this can cause inmy. 


Not only on this subject, but I can see what has been learned throughout the semester, with all that historical context, music over time, the evolution of sound, I think that every step was fundamental to understand what apiece, is part of the cultural background that I’m glad to have obtained.  I think there would be no life without music, has been present since time immemorial and respond to each society equally, is the reflection of who we are, what we like and what we feel, I think, as is theArt, music as a means of expression is inherent to the human being and to have a whole range of genres makes us part of different groups, for example, this is what makes music part of our culture and of thecreation of individual meanings and therefore collective.


Biaggini, d. (s/f). History of digital cinema: technology and digital cinema.

Castañeda, a. (2013). About aesthetics in the intensities of digital cinema. Hive 80, 145-152.

Digital cinema. (s/f). All about digital cinema: digital cinema.

Fernández, d. (January 18, 2014). Musical flow: Blogspot.

Mejía, j. (May 3, 2019). The Mexican drummer recognized worldwide who was ignored in our country: collective culture.

Núñez, l. (s/f). Antonio Sánchez, Birdman’s musical soul: two points.

Riaño, p. (February 18, 2015). Birdman’s music is too original for Hollywood’s ears: El Confidencial.

Sabater, r., & Gónzalez, J. (2016). Cinematographic music. In r. Sabater, & J. Gónzalez, Music 4 that (p. fifty). Spain: Teide Editorial.

Sensacine. (2014). Birdman (or the unexpected virtue of ignorance): sensacine.

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