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Academic literature on the topic 'The art of dreamworks the bad guys'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "The art of dreamworks the bad guys"

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Ni, Peimin. "Can Bad Guys Have Good Gongfu?—A Preliminary Exploration of Gongfu Ethics." Journal of Chinese Philosophy 43, no. 1-2 (2016): 9–31. http://dx.doi.org/10.1163/15406253-0430102005.

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This paper tries to explore a gongfu ethics on the basis of traditional Chinese ethical theories. Used in the sense that the Song-Ming Neo-Confucians did, “gongfu” means the art of life in general and not merely the martial arts, although martial arts can be taken as a paradigm example of gongfu. The paper begins with the question “can bad guys have good gongfu,” which leads to three answers, each representing one stage of the dynamic relationship between morality and gongfu: The first is yes, since gongfu and morality belong to two different categories, i.e., the art of life and moral respons
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Schramm, Holger, and Annika Sartorius. "The attraction of evil. An investigation of factors explaining women’s romantic parasocial relationships with bad guys in movies and series." Frontiers in Psychology 15 (December 24, 2024). https://doi.org/10.3389/fpsyg.2024.1501809.

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The attractiveness of bad boys can be seen as a cultural phenomenon that can be found in different areas of society and art. In the media, too, the bad boy fulfills social expectations in terms of masculinity and is often portrayed as dominant, violent, hard, unemotional and aggressive. Women may feel attracted to this male dominance under certain conditions. In order to investigate this phenomenon in the field of media psychology, this study examined women’s personality as predictor of romantic parasocial relationships (RPSR) with bad boys from movies or series, as well as feelings and experi
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Pradantyo, Reyhan, Max V. Birk, and Scott Bateman. "How the Visual Design of Video Game Antagonists Affects Perception of Morality." Frontiers in Computer Science 3 (April 16, 2021). http://dx.doi.org/10.3389/fcomp.2021.531713.

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The visual design of antagonists—typically thought of as “bad guys”—is crucial for game design. Antagonists are key to providing the backdrop to a game's setting and motivating a player's actions. The visual representation of antagonists is important because it affects player expectations about the character's personality and potential actions. Particularly important is how players perceive an antagonist's morality. For example, an antagonist appearing disloyal might foreshadow betrayal; a character who looks cruel suggests that tough fights are ahead; or, a player might be surprised when a fr
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Miletic, Sasa. "‘Everyone Has Secrets’: Revealing the Whistleblower in Hollwood Film in the Examples of Snowden and The Fifth Estate." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1668.

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In one of the earliest films about a whistleblower, On the Waterfront (1954), the dock worker Terry Malloy (Marlon Brando), who also works for the union boss and mobster Johnny Friendly (Lee J. Cobb), decides to testify in court against him and uncover corruption and murder. By doing so he will not only suffer retribution from Friendly but also be seen as a “stool pigeon” by his co-workers, friends, and neighbours who will shun him, and he will be “marked” forever by his deed. Nonetheless, he decides to do the right thing. Already it is clear that in most cases the whistleblowers are not simpl
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Tata, Michael Angelo. "Beyond the Stars." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2433.

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Through Andy Warhol, much important thinking about the meanings of celebrity for a capitalist, schizoid world takes place — by Andy, by his significant others (Pat Hackett, Bob Colacello, Brigid Berlin), and by the consumers and contemplators of his works. Both a source of his own observations and a screen on which philosophies are projected, Warhol presents an unparalleled critique of celebrity. Other horizontalities, such as Madonna’s, do not generate half the heat as Warhol’s own tendril-like intrusion into so many aspects of the media machine (music, publishing, modeling, painting, film-ma
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Dieter, Michael. "Amazon Noir." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2709.

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 There is no diagram that does not also include, besides the points it connects up, certain relatively free or unbounded points, points of creativity, change and resistance, and it is perhaps with these that we ought to begin in order to understand the whole picture. (Deleuze, “Foucault” 37) Monty Cantsin: Why do we use a pervert software robot to exploit our collective consensual mind? Letitia: Because we want the thief to be a digital entity. Monty Cantsin: But isn’t this really blasphemic? Letitia: Yes, but god – in our case a meta-cocktail of authorship and copyright –
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Hill, Wes. "The Automedial Zaniness of Ryan Trecartin." M/C Journal 21, no. 2 (2018). http://dx.doi.org/10.5204/mcj.1382.

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IntroductionThe American artist Ryan Trecartin makes digital videos that centre on the self-presentations common to video-sharing sites such as YouTube. Named by New Yorker critic Peter Schjeldahl as “the most consequential artist to have emerged since the 1980s” (84), Trecartin’s works are like high-octane domestic dramas told in the first-person, blending carnivalesque and horror sensibilities through multi-layered imagery, fast-paced editing, sprawling mise-en-scène installations and heavy-handed digital effects. Featuring narcissistic young-adult characters (many of whom are played by the
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Scott, Paul. "We shall Fight on the Seas and the Oceans…We shall." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2138.

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Liquidate the entire rapacious monstrosity that is the global surf industry. Eradicate the gloating, insolent, overfed, carrion-feeding surf media altogether. Destroy the overweening, insidious and growing attraction that surf fashion is for common landlubbers. Dismantle, annihilate and devastate the whole swelling, putrescent edifice of surfing once and for all. There are too many people in the water and all I want to do is go surfing with my mates goddammit (Breuchie 26). Nick Breuchie’s letter to Tracks reflects an individual’s fight against the popularity of surfing, a popularity that he s
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McNicol, Emma Jane Brosnan. "Gendered Violence as Revelation in John le Carré’s The Night Manager." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1665.

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Susanne Bier and David Farr’s 2016 television adaptation of John le Carré’s novel The Night Manager (“Manager”) indexes the resilience of traditional Christian misogyny in contemporary British-American media. In the first episode of the series, Sophie (Aure Atika)’s partner Freddie Hamid (David Avery) brutally beats her. In the subsequent scene, despite her scars, Sophie has a sex scene with the eponymous night manager Pine (Tom Hiddlestone). Sophie’s eye socket and the left side of her face bear fresh bruises and wounds throughout the sex scene. And in the sixth and final episode, Pine and Je
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Mason, Myles. "Considering Meme-Based Non-Fungible Tokens’ Racial Implications." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2885.

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Staples of early United States Internet meme culture were sold via digital auctions for cryptocurrency (except one, which was sold for cash) throughout 2021. Through these transactions, Internet memes, or “the linguistic, image, audio, and video texts created, circulated, and transformed by countless cultural participants across vast networks and collectives” (Milner 1), were “minted” as non-fungible tokens—a marker within cryptocurrency economy that denotes the level of originality or irreplaceability of an (often digital) artifact (Wired). Early 2021 saw Internet memes (memes, hereafter) and
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Books on the topic "The art of dreamworks the bad guys"

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DreamWorks. Art of DreamWorks the Bad Guys. Cameron + Company, 2022.

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The Art of DreamWorks The Bad Guys. Cameron, 2022.

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Art of DreamWorks the Bad Guys (trade Edition). Cameron + Company, 2022.

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Animation, DreamWorks. Bad Guys DVD Booklet. Cameron + Company, 2022.

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The Art Of Dreamworks Megamind Bad Brilliant Blue. Insight Editions, 2010.

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Book chapters on the topic "The art of dreamworks the bad guys"

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"CHAPTER TWO. THEORIZING TELEVISION MUSIC AS SERIAL ART: Buffy the Vampire Slayer and the Narratology of Thematic Score." In Buffy, Ballads, and Bad Guys Who Sing, edited by Kendra Preston Leonard. Rowman & Littlefield Publishers, 2010. https://doi.org/10.5771/9780810877658-29.

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Jones, Richard A. L. "The Brownian universe: physics at the nanoscale." In Soft Machines. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198528555.003.0004.

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Abstract People who write about the history of ideas know that great works of literature can change the way people think. But popular films, trashy genre novels, and cheesy television shows can change the intellectual climate just as much as high art can. I am sure that the way people think about nanotechnology now has been profoundly changed by the 1966 science fiction film ‘Fantastic voyage’, later made into a novel by Isaac Asimov and spun out into a Saturday morning television series. The heroes of the film have to save the life of a scientist who knows vital secrets, but who lies in a com
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