La Misa como nunca te la habían contado. Un deslumbrante recorrido a través del sentido bíblico del sacrificio -desde la Creación hasta nosotros- acompañados por anfitriones de lujo: Eduardo Verástegui, el autor súper ventas Scott Hahn, el bicampeón de Fórmula 1 Emerson Fittipaldi, el Barrabás de La Pasión de Cristo Pietro Sarubbi, Raniero Cantalamessa... y por jóvenes 'besados' por Dios. Con increíbles imágenes de la naturaleza de Brasil e Islandia; rodado en la Playa de las Catedrales (Lugo) y en Matera (Italia).
| Título original: | EL BESO DE DIOS |
| Año: | 2022 |
| Fecha estreno: | 22-04-2022 |
| País: | España |
| Dirección: | P. Ditano |
| Guion: | P. Ditano |
| Productores: | Arturo Sancho y P. Ditano |
| Música: | Almighty y Andrea Bocelli |
| Dir. producción: | Alfonsina Isidor |
| Montaje: | P. Ditano |
| Fotografía: | César Pérez, Víctor Entrecanales y Dan Johnson |
| Mezcla sonido: | David Machado |
| Género: | Documental |
| Duración: | 76 min. |
| Distribuidora: | European Dreams Factory |
| EDUARDO VERÁSTEGUi | narrador (voz) |
| EMERSON FiTTiPALDi | entrevistado |
| SCOTT HAHN | narrador y entrevistado |
| PiETRO SARUBBi | actor, narrador y entrevistado |
| CARDENAL CANTALAMESSA | entrevistado |
| BRiEGE McKENNA | entrevistada |
| MARY HEALY | entrevistada |
| RALPH MARTiN | entrevistado |
| JOSÉ PEDRO MANGLANO | entrevistado |
| TONY GRATACÓS | entrevistado |
| BEA MORiILLO | entrevistada |
| FER RUBiO | entrevistado |
Ethically, the paper argues for a nuanced stance: fan creativity can be culturally valuable, but deepfakes of real people—especially sexualized content—raise consent, harassment, and economic-harm concerns. Policy recommendations include: platform-level takedown pathways tailored for public-figure deepfakes, consent-first community norms within fandoms, opt-in technical provenance standards, and clearer legal remedies balancing free expression and reputation rights. We also propose practical detection toolkits for platforms and researchers that combine lightweight artifact detectors with metadata provenance checks.
We document common motivations—artistic expression, role-play, tribute, and monetization—and map circulation pathways across forums, imageboards, and subscription platforms. Technical experiments replicate representative generation pipelines using publicly available tools (with strict ethical safeguards: synthetic target is a neutral, consented synthetic face for method testing rather than using Olsen’s real images). We evaluate detection strategies: artifact-based forensic detectors, temporal consistency checks, and provenance watermarking. Results show that state-of-the-art consumer tools can produce highly convincing clips, while detectors relying on high-frequency artifacts retain utility but degrade when post-processing (color grading, compression, adversarial smoothing) is applied. Provenance systems (content signing, cryptographic watermarks) are promising but require widespread adoption and backward compatibility. fantopiamondomongerdeepfakeselizabetholsen work
Would you like the full paper outline, a 6–8 page draft, or a shorter 1–2 page position brief? Ethically, the paper argues for a nuanced stance:
Contributions: coinage of "fanto-piandomo-monger" as a descriptive framework; a mixed-methods pipeline for analyzing fan deepfakes; an empirically grounded evaluation of detection approaches under realistic post-processing; and concrete policy and design recommendations to mitigate harms while preserving benign creative expression. a 6–8 page draft
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