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Titlebook: Video Verification in the Fake News Era; Vasileios Mezaris,Lyndon Nixon,Denis Teyssou Book 2019 Springer Nature Switzerland AG 2019 Fake N

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發(fā)表于 2025-3-21 19:29:32 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書目名稱Video Verification in the Fake News Era
編輯Vasileios Mezaris,Lyndon Nixon,Denis Teyssou
視頻videohttp://file.papertrans.cn/983/982935/982935.mp4
概述Discusses in depth a wide range of state-of-the-art technologies for video verification.Presents practical tools and complete software solutions for use by news and media professionals.Opens new persp
圖書封面Titlebook: Video Verification in the Fake News Era;  Vasileios Mezaris,Lyndon Nixon,Denis Teyssou Book 2019 Springer Nature Switzerland AG 2019 Fake N
描述This book presents the latest technological advances and practical tools for discovering, verifying and visualizing social media video content, and managing related rights. The digital media revolution is bringing breaking news to online video platforms, and news organizations often rely on user-generated recordings of new and developing events shared in social media to illustrate the story. However, in video, there is also deception. In today‘s "fake news" era, access to increasingly sophisticated editing and content management tools and the ease with which fake information spreads in electronic networks, require the entire news and media industries to carefully verify third-party content before publishing it. As such, this book is of interest to computer scientists and researchers, news and media professionals, as well as policymakers and data-savvy media consumers.
出版日期Book 2019
關(guān)鍵詞Fake News; Video Verification; Video Analysis; Social Media Analysis; Digital Rights Management; media re
版次1
doihttps://doi.org/10.1007/978-3-030-26752-0
isbn_softcover978-3-030-26754-4
isbn_ebook978-3-030-26752-0
copyrightSpringer Nature Switzerland AG 2019
The information of publication is updating

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nt film, of Egyptian cinema. Given the film’s striking visual style and its impressive production technique, it is not hard to see how this would be so. Yet there is a real dissonance between critical discourse that places the film at the heart of Egyptian cinema and the fact that as a text, its pre
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Denis Teyssou,Jochen Spangenbergaim to a unique national identity (Smith, 1986). Claim to a national identity is usually based on the assertion of a common ancestry and a shared history and is often accompanied by the exclusion of ‘others’, who have been conquered, colonized or otherwise subordinated. Debates over ‘who belongs’ to
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