With increase in the scope, scale and sophistication of digitisation, the line between fake and real is blurred. In the recent years, digital disinformation in the form of fake news or morphed pictures/videos has become a new normal on internet. Adding to this list are the artificial intelligence generated-Deepfakes. The wide use of deepfakes in cinematography, fake pornography, political campaigns etc. have fascinated the legal fraternity across the globe. Deepfakes raises many legal alarms including threat to privacy, cyber security, right to publicity, forgery, defamation, criminal intimidation, sedition, copyright infringement, copyright protection, authorship and the list continues. The concern of this article is to understand the copyright issues embroiled in deepfakes in Indian context. The first point of discussion is the sustainability of the claim of copyright infringement or right of publicity arising out of the modification and republication of original work to create deepfakes. Secondly, the creative use of deepfakes like in advanced cinematography would require copyright protection to the author. However, the issue is identifying the author of the deepfake – is it artificial intelligence or the human causing its creation.

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了解印度涉及深度伪造的版权问题

随着数字化的范围、规模和复杂程度的增加，虚假和真实之间的界限越来越模糊。近年来，假新闻或变形图片/视频形式的数字虚假信息已成为互联网上的新常态。添加到此列表中的是人工智能生成的 Deepfakes。deepfakes 在电影摄影、假色情、政治运动等方面的广泛使用让全球法律界为之着迷。Deepfakes 引发了许多法律警报，包括对隐私、网络安全、公开权、伪造、诽谤、刑事恐吓、煽动、侵犯版权、版权保护、作者身份的威胁，而且名单还在继续。本文的关注点是了解在印度背景下卷入 deepfakes 的版权问题。讨论的第一点是对原创作品进行修改和再版以制造深度伪造而引起的版权侵权或宣传权主张的可持续性。其次，像在高级电影摄影中那样创造性地使用 deepfake 需要对作者进行版权保护。然而，问题在于确定 deepfake 的作者——是人工智能还是人类造成的。