Draft II

To create the sea scene, I drew each line of waves on a separate layer so they can move in opposite directions. I decided to make some smaller so when they are put on top of each other, it will give the image more depth and give it a sense of realism. I will add different shades and textures to them to make them more detailed which will add to the chaotic nature of the scene. I found it difficult to make each curve symmetrical - the same size and shape - so I decided to make them all a bit different because the style of the art in my video are unique, hand-drawn images with no attention to making each image perfect and realistic which is what gives the video a distinguished appearance which is a technique used by many artists who design music videos of the alternative genre. 

Musical films - Very First Animations

In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts (produced by Warner Bro.) featured many bands, vocalists and dancers. 

Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", which is similar to a modern karaoke machine. 

Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, which featured several interpretations of classical pieces, were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were also distributed to theatres.

Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues (1929) featuring a dramatised performance of the hit song. 

Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister. These films were, according to music historian Donald Clarke, the "ancestors" of music video.

Musical films were another important precursor to music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert) which was closely modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad" which was influenced by the stylised dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, disk jockey-singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959

Narrative Theory

1984: Michael Shore debated that music videos were just surface without substance. They were vanity of the moment and recycled styles. They are simulated experiences and created for adolescent male fantasies. They focus on power and wealth. They are classical storytelling motifs and they are image and style scavengers.

1992: Andrew Goodwin debated that multi discursive phenomena of Western culture and was dominated by advertising references, film pastiche and reinforce the postmodern ‘re-use’ tradition.

1999: Sven Carlsson debated that the ideology of a music video reflects the materialistic, violent, celebrity orientated, consumer driven culture. For example, the way Lady Gaga exhibits herself shows materialisation of the commercial exhibitionist - she is selling an image – “a modern mythic embodiment”. The televised bard is a performer who uses television as a medium, singing banal lyrics. An ‘Electric Shaman’ shifts between multiple shapes. This type of performer constantly changes their image, reflecting society’s latest fashion, sound, social concepts and concerns. 

To get his arm to wave independently, I had to split each section of his body into layers so I could chose which layer I wanted to animate.
In the falling scene, I rotated the subject and placed key frames every 90 degrees. 
The problem I was face with at this point was trying to make him smaller, giving the illusion he was falling down a hole. Making him smaller pulls each of his features down with his feet almost like an anchor, so I had to add more key frames to make him rise in the shot, even though it is not clear when put in front of the chaotic background. 

The video begins with a fade in and an establishing shot to give the narrative a context. The first use of animation is the clouds. I drew the full scene with each item on a different layer so they can move independently. The clouds move subtly while the shot zooms in to fit with the relaxed, serene feeling of the song at this point. To give the illusion that my character is walking, I have made numerous key frames so he moves up and down while the setting moves horizontally. The setting is the same shot as the first but extremely zoomed into the blades of grass to show the proportions.

First draft