This paper aims to explore an overlooked aspect of deep-fake technology, specifi- cally its application as a protective tool for concealing the identities of targeted indi- viduals or whistleblowers. Since its emergence in 2017, deep-fakes have been inter- twined with various sociotechnical imaginaries. Traditionally, deep-fake technology has been portrayed as a potential threat to privacy and a weapon for disseminating false information, evident from its definitions which emphasize its deceptive nature and malicious use. Moreover, the origins of deepfakes, such as the creation and online distribution of altered pornographic material with harmful intentions, further reinforce this perception. As a result of blurring the boundaries between reality and fiction, truth and falsehood, these synthetic media forms not only pose a risk of dis- information and deception but also offer unexplored avenues for creative expression. Thus, this study examines deep-fake technology as a form of ‘digital camouflage’ by analyzing its usage in David France’s documentary film Welcome to Chechnya (2020). The argument presented in this paper suggests that this illustration chal- lenges the dominant narrative surrounding deep-fakes and highlights an ethical and potentially positive application of this technology.
Preserving Anonymity: Deep-Fake as an Identity-Protection Device and as a Digital Camouflage
Gramigna, Remo
2024-01-01
Abstract
This paper aims to explore an overlooked aspect of deep-fake technology, specifi- cally its application as a protective tool for concealing the identities of targeted indi- viduals or whistleblowers. Since its emergence in 2017, deep-fakes have been inter- twined with various sociotechnical imaginaries. Traditionally, deep-fake technology has been portrayed as a potential threat to privacy and a weapon for disseminating false information, evident from its definitions which emphasize its deceptive nature and malicious use. Moreover, the origins of deepfakes, such as the creation and online distribution of altered pornographic material with harmful intentions, further reinforce this perception. As a result of blurring the boundaries between reality and fiction, truth and falsehood, these synthetic media forms not only pose a risk of dis- information and deception but also offer unexplored avenues for creative expression. Thus, this study examines deep-fake technology as a form of ‘digital camouflage’ by analyzing its usage in David France’s documentary film Welcome to Chechnya (2020). The argument presented in this paper suggests that this illustration chal- lenges the dominant narrative surrounding deep-fakes and highlights an ethical and potentially positive application of this technology.File | Dimensione | Formato | |
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