Downloads

Ajder, Henry, Giorgio Patrini, Francesco Cavalli, and Laurence Cullen. 2019. The State of Deepfakes: Landscape, Threats, and Impact. Amsterdam: Deeptrace. https://regmedia.co.uk/2019/10/08/deepfake_report.pdf  Ajder, Henry and Joshua Glick. 2021. Just joking: deepfakes, satire and the politics of synthetic media. MIT Open Documentary Lab  https://cocreationstudio.mit.edu/just-joking/   Shivangi Aneja, Cise Midoglu, Duc-Tien Dang-Nguyen, Michael Alexander Riegler, Pål Halvorsen, Matthias Nießner, Balu Adsumilli, and Chris Bregler. 2021. MMSys’21 Grand Challenge on Detecting Cheapfakes. In 12th ACM Multimedia Systems Conference (MMSys’21), Sept. 28-Oct. 1, 2021 Arnold, Richard. 2022. ‘Performers’ Rights and Artificial Intelligence’, in Research handbook on intellectual property and artificial intelligence, edited by Ryan Abbott and David Geffen, 218-224. Cheltenham: Edward Elgar Publishing. Ashok, M., R. Madan, A. Joha, and U. Sivarajah. 2022. 'Ethical framework for Artificial Intelligence and Digital technologies', International Journal of Information Management, 62.  Balsom, Erika. 2017. ‘The Reality-Based Community’, e-flux Journal 83 (June) https://www.e-flux.com/journal/83/142332/the-reality-based-community/   Big Dada/Public Faces directed by Bill Posters and Daniel Howe, 2019. http://billposters.ch/projects/big-dada/  The Bletchley Declaration By Countries Attending the AI Safety Summit, 1-2 November 2023. https://www.gov.uk/government/publications/ai-safety-summit-2023-the-bletchley-declaration/the-bletchley-declaration-by-countries-attending-the-ai-safety-summit-1-2-november-2023 Captain Scarlet and the Mysterons created by Gerry Anderson and Sylvia Anderson, 1967-8. UK: ITC Entertainment.  Cole, Samantha. 2017. ‘AI-Assisted Fake Porn Is Here and We’re All Fucked’, Vice. https://www.vice.com/en/article/gydydm/gal-gadot-fake-ai-porn  Danry, V., Leong, J., Pataranutaporn, P., Tandon, P., Liu, Y., Shilkrot, R., Punpongsanon, P., Weissman, T., Maes, P., and Sra, M. 2022. ‘AI-Generated Characters: Putting Deepfakes to Good Use’, CHI Conference on Human Factors in Computing Systems Extended Abstracts (CHI ’22 Extended Abstracts), April 29-May 5, 2022, New Orleans, LA, USA.  Deepfake porn: you could be next. Directed by Jess Davies, 2022. BBC 3.  De Ruiter, Adrienne. 2021. ‘The Distinct Wrong of Deepfakes’, Philosophy & Technology 34: 1311–1332.  Deep Fake Neighbour Wars, directed by Spencer Jones, 2023. UK:ITVX  Equity. 2022. Stop AI Stealing the Show. https://www.equity.org.uk/media/6134/report-stop-ai-stealing-the-show.pdf  Gerry Anderson: A Life Uncharted. Directed by Benjamin Field, 2022. UK: BritBox.  Flick, C., Worrall, K. 2022. ‘The Ethics of Creative AI’ in The Language of Creative AI edited by C.Vear and F. Poltronieri.  Cham: Springer. https://doi.org/10.1007/978-3-031-10960-7_5  Floridi, L. 2018. 'Soft ethics, the governance of the digital and the General Data Protection Regulation', Philosophical Transactions of the Royal Society a-Mathematical Physical and Engineering Sciences, 376.  Gaur, L, ed. 2022. DeepFakes: Creation, Detection, and Impact. 1st ed. CRC Press: Boca Raton.  Here. Directed by Robert Zemeckis, 2024. US: Sony Pictures. Hight, Craig. 2022. ‘Deepfakes and documentary practice in an age of misinformation’, Continuum, 36(3): 393-410. DOI: 10.1080/10304312.2021.2003756  In Event of Moon Disaster. Directed by Francesca Panetta and Halsey Burgund, 2019. US: MIT. https://moondisaster.org Kapur, Anandana & Nagma Sahi Ansari. 2022. ‘Coding reality: implications of AI for documentary media’, Studies in Documentary Film 16(2): 174-185. DOI:10.1080/17503280.2022.2048235  Kim, Jihoon. 2022. ‘Expanded Images’, in Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary, Jihoon Kim, 24-63. Oxford: Oxford University Press. https://doi.org/10.1093/oso/9780197603819.003.0002  Lees, Dominic, Thomas Bashford-Rogers and Marcus Keppel-Palmer. 2021. ‘The digital resurrection of Margaret Thatcher: creative, technological and legal dilemmas in the use of Deepfakes in screen drama', Convergence: the International Journal of Research into New Media Technologies, 27(4): 954-973. https://dx.doi.org/10.1177/13548565211030452  Lyons, James. 2020. Documentary, performance and risk. Abingdon: Routledge.  Lyu, Siwei. 2022. ‘DeepFake Detection’, in Multimedia Forensics edited by Husrev Taha Sencar, Luisa Verdilova and Nasir Memon, 313-333. Online: Springer. https://doi.org/10.1007/978-981-16-7621-5  Marquis, Elizabeth. 2013. 'Conceptualizing documentary performance', Studies in Documentary Film, 7: 45-60.  Meikle, Graham. 2022. Deepfakes. Cambridge: Polity Press.  Meskys, E., A. Liaudanskas, J. Kalpokiene, and P. Jurcys. 2020. 'Regulating deep fakes: legal and ethical considerations', Journal of Intellectual Property Law & Practice, 15: 24-31.  Mihailova, Mihaela. 2021. To Dally with Dalí: Deepfake (Inter)faces in the Art Museum.” Convergence: The International Journal of Research into New Media Technologies, 27(4): 882–898. https://doi.org/10.1177/13548565211029401  Morley, J., L. Floridi, L. Kinsey, and A. Elhalal. 2020. 'From What to How: An Initial Review of Publicly Available AI Ethics Tools, Methods and Research to Translate Principles into Practices', Science and Engineering Ethics, 26: 2141-68.  Mustak, Mekhail, Joni Salminen, Matti Mäntymäki, Arafat Rahman, Yogesh K. Dwivedi. 2023. ‘Deepfakes: Deceptions, mitigations, and opportunities.’ Journal of Business Research, 154: 113368 https://doi.org/10.1016/j.jbusres.2022.113368.  MIT Open Documentary Lab. 2020. Deepfakery: a livestream talk series http://opendoclab.mit.edu/?s=deepfakery  Naruniec, J., Helminger, L., Schroers, C. and Weber, R.M. 2020. ‘High-Resolution Neural Face Swapping for Visual Effects’. Computer Graphics Forum, 39: 173-184. https://doi.org/10.1111/cgf.14062  Navarro, Vinicius. 2020. ‘Time, Digital Environments, and the Documentary Experience’, JCMS: Journal of Cinema and Media Studies 60(1): 92-110.  Paget, Derek. 2011. No Other Way to Tell It: Docudrama on Film and Television. 2nd ed. Manchester: Manchester University Press. Paris, Britt and Joan Donovan. 2019. Deepfakes and Cheap fakes: the manipulation of audio and video evidence https://www.archives.gov/files/presidential-libraries/events/centennials/nixon/images/exhibit/rn100-6-1-2.pdf  Partnership on AI. 2023. PAI’s Responsible Practices for Synthetic Media: A Framework for Collective Action. Online: PAI https://partnershiponai.org/wp-content/uploads/2023/02/PAI_synthetic_media_framework.pdf  Pavis, M. 2021. Rebalancing our regulatory response to Deepfakes with performers’ rights. Convergence, 27(4): 974–998. https://doi.org/10.1177/13548565211033418  Peele, Jordan. 2018. ‘A Public Service Announcement from Monkeypaw Productions and BuzzFeed’, YouTube https://www.youtube.com/watch?v=cQ54GDm1eL0  Peipeng Yu, Zhihua Zha, Jianwei Fei, Yujiang Lu. 2021. ‘A Survey on Deepfake Video Detection’, IET Biometrics 10 (6): 607-624  Pietrobon, Agnese. 2020. ‘Are we not going to be able to ever know what the truth is, again?’ - Halsey Burgund (IN THE EVENT OF MOON DISASTER)’, Online: XRMust.  https://www.xrmust.com/xrmagazine/halsey-burgund-event-moon-disaster/    Prince, Stephen. 2012. Digital Visual Effects: The Seduction of Reality. New Brunswick, NJ: Rutgers University Press.  Purse, Lisa. 2018. 'Layered encounters: mainstream cinema and the disaggregate digital composite', Film-Philosophy, XXII: 148-67.  Rana, M.S, M. N. Nobi, B. Murali and A. H. Sung. 2022. ‘Deepfake Detection: A Systematic Literature Review’, IEEE Access 10: 25494-25513. Doi: 10.1109/ACCESS.2022.3154404.  Renov, Michael. 2004. The Subject of Documentary (Minneapolis: University of Minnesota Press)  Rini, Regina. 2020. ‘Deepfakes and the epistemic backstop’, Philosophers’ Imprint 20, 24: 1-16 http://hdl.handle.net/2027/spo.3521354.0020.024  Rothkopf, Joshua. 2020. ‘Deepfake technology enters the documentary world.’ The New York Times, July 06 https://www.proquest.com/newspapers/deepfake-technology-enters-documentary-world/docview/2420903688/se-2  Safire, Bill. 1969. Memo to H.R.Haldeman In Event of Moon Disaster. US: Presidential Libraries. https://www.archives.gov/files/presidential-libraries/events/centennials/nixon/images/exhibit/rn100-6-1-2.pdf  Schwartz, Drew. 2019. ‘Craig Mazin’s Year-Long Obsession with Making ‘Chernobyl’ Terrifyingly Accurate’, Vice, 03 June 2019 https://www.vice.com/en/article/j5wbq4/craig-mazin-interview-about-chernobyl-hbo-miniseries-on-how-accurate-and-what-really-happened Seow, J. W., Lim, M. K., Phan, R. C. W., & Liu, J. K. 2022. ‘A comprehensive overview of deepfake: Generation, detection, datasets, and opportunities.’ Neurocomputing, 513: 351-371. https://doi.org/10.1016/j.neucom.2022.09.135  Shepherd, Robert. 2022. ‘A Real Fake Story’, Definition Magazine, November 23. https://definitionmagazine.com/features/a-real-fake-story/  Stahl, B.C., Timmermans, J. and Flick, C. 2016. ‘Ethics of Emerging Information and Communication Technologies - On the implementation of responsible research and innovation.’ Science and Public Policy, 44 (3): 369-381  The Alternative Christmas Message. Directed by William Bartlett, 2020. Channel Four Television.  https://www.channel4.com/programmes/alternative-christmas-message  The Book of Boba Fett. 2022. US: Disney  Thunderbirds created by Gerry Anderson and Sylvia Anderson, 1965-6. UK: ITC Entertainment.   Tolosana, Ruben, Ruben Vera-Rodriguez, Julian Fierrez, Aythami Morales, Javier Ortega-Garcia. 2020. ‘Deepfakes and beyond: A Survey of face manipulation and fake detection’, Information Fusion, 64: 131-148. https://doi.org/10.1016/j.inffus.2020.06.014.   Ume, Chris. 2021. The Chronicles of Deepfake Tom Cruise (Viral TikTok videos). YouTube https://www.youtube.com/watch?v=nwOywe7xLhs  Vaccari, Cristian and Andrew Chadwick. 2020. ‘Deepfakes and Disinformation: Exploring the Impact of Synthetic Political Video on Deception, Uncertainty, and Trust in News’, Social Media+Society 6(1): 2056305120903408 DOI: 10.1177/2056305120903408  Welcome to Chechnya. Directed by David France, 2020. US: Public Square Films/HBO. https://www.welcometochechnya.com/  Wood, Aylish. 2007. 'Pixel visions: digital intermediates and micromanipulations of the image', Film Criticism, XXXII: 72-94.