Should 'deepfakes' be used in visual content?
Digitally manipulated video in K-drama sex scenes sparks controversy
Korea's broadcasting industry is increasingly embracing "deepfake" technology — an application of machine learning that seamlessly merges synthetic images and audio to create hyperrealistic media. However, as these digital manipulations push the limits of what has previously been possible on the small screen, they have also ignited a firestorm of controversy.
The latest flash point in this debate centers on the use of body doubles for nude scenes. While that practice has a long history, newer technology allows lead actors' faces to be digitally superimposed on body doubles — an approach that has sparked mounting criticism.
Case in point is "The Queen Who Crowns," a period romance series chronicling the tumultuous marriage of Queen Wongyeong (Cha Joo-young) and Yi Bang-won (Lee Hyun-wook) during the Goryeo Kingdom. The drama series airs with a 15+ rating on cable network tvN, while a racier, 19+ version streams on Tving.
Public outcry erupted when viewers expressed unease over deepfake technology — recently associated with illicit uses such as fabricated celebrity sex videos — being utilized to create sex scenes between Cha and co-star Lee E-dam, with their faces superimposed onto body doubles. The scenes streamed via Tving.
The controversy escalated after reports surfaced in local media alleging the actors involved in the sex scenes had reportedly been unaware of the intended creation of the scenes and were only informed just before filming. It was also reported that agencies representing Cha and Lee had requested the removal of the contentious scenes prior to broadcast, only to have their appeals rebuffed by the production team.
Studio Dragon, the production company behind "The Queen Who Crowns," acknowledged the use of deepfake technology in the scenes, but insisted that all necessary agreements had been secured in advance.
"From the outset, it was clearly communicated that the Tving version would carry a 'restricted to teenagers' rating, and casting decisions were made accordingly. Additionally, it was disclosed from the beginning that the series would include nude scenes," said an official from Studio Dragon.
"The level of nudity was determined on a case-by-case basis for each actor, taking into account their character's narrative arc. Throughout the production process, there was ongoing dialogue with both the agencies and the actors at every stage," the official added.
"Scenes requiring computer graphics enhancements are shot differently from the outset — often utilizing chroma key or green screen techniques," he explained. "These technical elements were fully integrated into the on-set workflow and actors were completely aware of them."
"The Queen Who Crowns" is not the first Korean drama series to employ such digital manipulation. As the industry increasingly turns to artificial intelligence-driven enhancements to simplify complex or logistically challenging shoots, questions are emerging about the ethical implications of using the tech.
In Netflix's "A Killer Paradox," a combination of deepfake and de-aging technology was employed to re-create a younger version of protagonist Nan-gam (Son Suk-ku), using archival images of the actor to digitally map his younger likeness onto a child performer.
Similarly, the opening episode of JTBC's "Welcome to Samdal-ri" featured a digitally de-aged re-creation of the late TV icon Song Hae, seamlessly inserting him into a fictionalized 1994 episode of "National Singing Contest – Jeju Edition."
The integration of deepfake technology has also extended into variety shows. A teaser for the fifth season of "SNL Korea," released via Coupang Play's YouTube channel in February 2024, utilized computer generated imagery-driven facial mapping to transform cast members Shin Dong-yup, Ahn Young-mi and others into fictional characters from the platform's hit series "Boyhood," further blurring the lines between digital illusion and reality.
Industry experts suggest that the deployment of deepfake technology in entertainment is unlikely to wane anytime soon.
"While ethical considerations must be taken into account, from a technical standpoint, its continued adoption seems inevitable," said Lee Sung-min, an associate professor in the department of media arts and science at Korea National Open University.
Lee drew comparisons to past filmmaking techniques, arguing that the use of body doubles itself is nothing new — deepfake technology merely represents an evolution of the practice.
"From the production team's perspective, they likely view this as a natural extension of traditional methods used to depict nudity and other sensitive content," he noted.
When asked about the long-term viability of deepfake technology in television and film, Lee emphasized the need for clear ethical guardrails.
"Internally, production companies must tread carefully if there are concerns about the technology being exploited for illicit purposes. Given that real-world digital crimes involving deepfakes do exist, caution is warranted," he said.
"However, that doesn't mean the industry will abandon the technology altogether. If its use continues to provoke backlash, producers will likely tread more carefully in the future," he concluded. "Over time, clearer ethical boundaries will emerge."
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
38 minutes ago
- Korea Herald
Which exhibition will pique RM's interest?
Korean art world keeps eyes on which exhibitions the celebrity will visit following his military discharge The art circle has been desperate for an opportunity to liven up the mood amid the Korean art market slump, and, at long last, here comes BTS' RM with the star power to create a buzz in the scene. RM, known as an avid art lover, was discharged from mandatory military service on Tuesday, and now many are interested in what his next move may be where the arts are concerned. Before joining the military, he was often spotted at exhibitions across the country. He collected art and donated to a museum. A photo on social media or a rumor of a visit to a certain exhibition often resulted in long lines at the museums and galleries as fans made visits, following their heartthrob. 'When he visited us, he would do so without giving us prior notice. He would quietly come to the gallery to see art when it is not too crowded,' said a gallerist in Seoul, adding that an influencer like RM is unprecedented in the art world. 'No other idol has fans like this — they seem quite serious about art. They do not simply come and take photographs. They purchase brochures and study the artists. It seems his fans consider art a way to get to know the celebrity better — his tastes and thoughts,' he said. The idol singer embarked on an art tour ahead of his discharge, posting a couple of photographs from his visit to Kukje Gallery in Seoul for the exhibition 'Next Painting: As We Are' that features young Korean painters and another show, 'A Faraway Today,' which both kicked off last week. 'He has shown quite a lot of interest in Korean art with in-depth knowledge. People often say there has been no influencer or celebrity who can bring such a big interest to an exhibition like RM. Many people in the art circle have been waiting for his discharge from military service,' said an official from an auction house. 'We do not think that his visits to exhibitions will directly lead to sales, but we expect that his comeback will definitely bring a fresh mood to the art scene that has been in a downturn,' he said. When RM uploaded a photo from the exhibition 'Kwon Jin Kyu Centennial: Angel of Atelier' at the Seoul Museum of Art in 2022, where a 45-centimeter-tall terracotta sculpture 'Horse" RM had collected was on display, the museum saw a huge influx of visitors, many of them RM's fans, according to the city-run museum. 'RM has contributed to the art scene by breaking the perception that art is something difficult and complex for the general audience,' said Han Hee-jean, curator from the Seoul Museum of Art. 'Even during his service in the military, RM visited the museum to see 'Turbulent Times: Women, Life, Art' last year.' Another gallerist in Seoul said that while she acknowledges that RM's influence in the Korean art scene has been huge, she was cautious to place too much anticipation on his activities bringing about a change in the arts sector. 'The art market consists of many layers and has different factors behind it. It would not be proper to say that a single celebrity could lead a revival of the art scene, but it is true that people are curious about what exhibitions he will visit from now on,' the gallerist said.
Korea Herald
an hour ago
- Korea Herald
Where do Korean celebrities stand in politics?
In politically charged Korea, celebrities walk tightrope of neutrality Following South Korea's presidential election on June 3, a seemingly innocuous act by one of the nation's most celebrated actresses ignited a storm. Actress Song Hye-kyo pressed 'like' on now President-elect Lee Jae-myung's then-election campaign video on his HR policy. The simple gesture came under fire, drawing fierce backlash from those accusing her of breaking an unspoken rule: Celebrities in South Korea must remain politically neutral — or even near-total political abstinence. The controversy underscores a long-standing tension in Korean pop culture, where public figures in the fields of entertainment and culture are expected to suppress even the slightest hint of political affiliation. During the June election, numerous celebrities, from K-pop idols to comedians, were compelled to apologize or explain their actions for reasons as mundane as wearing red or blue, the symbolic colors of the rival People Power Party and Democratic Party of Korea, respectively. In one widely discussed case, League of Legends esports team Gen.G abstained from their usual 'V for victory' gesture after setting a historic win streak, fearing it could be mistaken as a political statement for candidate No. 2, Kim Moon-soo. Similarly, popular figures like Karina of aespa, entertainer Hong Jin-kyung and rapper Beenzino faced criticism for wearing red clothing, widely associated with Kim's People Power Party during the campaign period. Others, like comedian Park Sung-kwang and actress Ahn So-hee, were accused of showing political bias simply by posting images with blue rooftops or red roses. This hyper-vigilant policing of neutrality has left many wondering: Why are Korean celebrities held to such extreme standards? Idol as 'cultural blank slate' 'Korean celebrities, particularly idols, are not merely entertainers. They are seen as projections of fan ideals — cultural blank slates,' said cultural critic Kim Heon-sik. 'This makes any personal expression — political or otherwise — subject to public interpretation and judgment.' The term "idol" in Korea has come to denote more than admiration. As The Independent put it, idols are expected to embody fan fantasies while remaining void of personal beliefs that may challenge that image. In this framework, political neutrality is not just preferred, it is mandatory. 'Fans don't see idols as individuals with agency. They are shaped, controlled and even owned — emotionally — by their followers. A 'like' on a campaign post can be perceived as betrayal if it's not in line with what the fan thinks,' Kim added. This leads to K-pop idols often avoiding using primary colors, hand gestures or even certain numbers during election periods. Some go so far as to post black-and-white photos to preempt controversy, a trend that was lauded as 'socially aware' during the most recent campaign. South Korea's hypersensitivity to political expression has deep historical roots. As a country marked by ideological division and rapid democratic transition, political affiliations have long carried career-altering consequences. Even now, expressing support for one party or another can result in social ostracism, economic repercussions or online attacks. Bae Sang-hoon, a sociology professor at Chungbuk University, explained, 'South Korea's political environment is emotionally charged, and people project these tensions onto public figures.' "The issue is compounded by the country's deepening culture of fan attachment. The emotional investment that fans place in idols, often described as 'parasocial relationships,' can blur the lines between admiration and control. That emotional ownership has only intensified as fans use celebrities as a proxy to process their own social anxieties," Bae added. Some observers suggest that intense attachment to celebrities serves, in part, as an emotional coping mechanism. 'In a highly competitive society, where people feel disconnected and under pressure, celebrities serve as emotional anchors,' Bae added. 'This can turn into a toxic dynamic when fans begin to expect moral purity and political conformity from people who are essentially strangers.' Calls are growing for a more mature fan culture — one that allows room for artists to engage as citizens without fear of professional ruin. But such a change will require a fundamental reevaluation of the role celebrities play in society and the emotional needs they are often expected to fulfill. 'If we want to continue celebrating the rise of K-pop and Korean soft power, we must also ask whether we are granting our stars the same freedoms we expect in a democratic society," said a 31-year-old surnamed Kim who is active in fandom activities.
Korea Herald
2 hours ago
- Korea Herald
Violinist Yang In-mo on freedom found in collaboration
Korean violinist reflects on his evolving artistry ahead of two concerts with Orchestre de la Suisse Romande under Jonathan Nott In his 20s, Korean violinist Yang In-mo made his mark with high-profile wins — from the Paganini Competition in 2015 to the Sibelius Competition in 2022. Back then, most of his time was spent in solitude, immersed in rigorous practice. More recently, however, the 29-year-old's career has entered a new phase of collaboration. Performing with orchestras around the world, he is having one of his busiest seasons yet, having played 16 concertos, including several contemporary premieres. 'In my 20s, most of my time was spent alone, practicing,' Yang said. 'Now, almost every week I collaborate with a different orchestra. That exchange is my greatest teacher now.' 'Building strong relationships with them, exploring more repertoire together, and deepening our musical connection — I think that's the greatest privilege of the career I have now," Yang said. As he prepares to perform the Sibelius and Mendelssohn violin concertos with the Orchestre de la Suisse Romande in Korea in July, Yang reflects on a season of transformation — not just in repertoire, but in mindset. 'This was only the second time I have played with the OSR, but it felt like reconnecting with old friends. Some orchestras are distant, but OSR was open and warm. It allowed me to be completely free,' he said during a recent online interview. Yang joined the OSR on stage in Switzerland on May 8 for Sibelius' Violin Concerto. Reflecting on the performance afterward, the conductor remarked, 'Inmo is, of course, an exceptionally talented violinist but more importantly, he's a truly great musician. We were both smiling as the concerto came to a close.' That sense of freedom has become central to Yang's current musical philosophy. Having performed Sibelius' Violin Concerto nearly 20 times since winning the 2022 Sibelius Competition, his approach to the work has matured through both repetition and cultural immersion. 'Working with Finnish orchestras and musicians has changed how I view the piece,' Yang said. 'In Finland, I realized drama doesn't only come from human emotion. Nature has its own intensity. Silence, stillness, sudden shifts — these are part of the Finnish sensibility and Sibelius reflects that.' Instead of focusing solely on rhythmic clarity, as many conductors do with Sibelius' complex phrasing, OSR conductor Jonathan Nott encouraged Yang to shape long, lyrical lines. 'It was the first time I felt a conductor guide Sibelius horizontally rather than vertically,' Yang notes. 'At one point, he even sang the phrase to show me his vision. That's rare.' "He's a very musical, lyrical and horizontal conductor, someone who communicates his intentions clearly to the orchestra members, and he's also someone who truly respects and supports the soloist," he said. Yang's evolving relationship with music is not limited to Sibelius. For the upcoming July performance in Korea, he is also returning to Mendelssohn's Violin Concerto — a piece he last performed as a child. While often labeled as 'nice' or familiar, Yang is determined to explore its deeper, even radical layers. 'Mendelssohn's music can sound overly polite if you play it safe. But there's fire and risk beneath the surface, especially in the final movement. His tempo markings are absurdly fast," the Berlin-based violinist said, adding, "While living in Germany, I've come to see the works of German composers with fresh eyes, and in the case of Mendelssohn, beneath all the refinement, I sense something adventurous simmering underneath. I thought maybe it was time to try interpreting that in my own way, especially while performing in Korea.' For all his international engagements, Korea remains the most emotionally charged stage for him. 'I owe everything to my Korean fans,' he said. 'There was no one person who pulled me up — it was the support of people who believed in me after the competitions. When I play in Korea, I feel a responsibility to show them my best self.' Orchestre de la Suisse Romande, under the baton of Jonathan Nott, will present two distinct programs on July 5 and 6 at Lotte Concert Hall in Seoul. On July 5, the orchestra will perform Debussy's "Prelude a l'apres-midi d'un faune" (Prelude to the Afternoon of a Faun) and Stravinsky's "Petrushka," with Yang joining as the soloist for Sibelius' Violin Concerto. On July 6, audiences can look forward to the Asian premiere of William Blank's "Morphosis for 42 instruments" alongside Stravinsky's "The Rite of Spring" and Mendelssohn's Violin Concerto, with Yang once again as soloist. Ticket prices range from 50,000 won ($36.80) to 270,000 won. Meanwhile, OSR will embark on its Asia tour on July 3 in Beijing at the National Center for the Performing Arts before coming to Seoul. It will then head to Japan from July 8 to 13, touring five cities including Tokyo and Kyoto. gypark@
