伊朗支持者背后的团队,乐高主题病毒式传播视频活动
The Team Behind a Pro-Iran, Lego-Themed Viral-Video Campaign

原始链接: https://www.newyorker.com/culture/infinite-scroll/the-team-behind-a-pro-iran-lego-themed-viral-video-campaign

爆炸新闻,一个匿名团体,制作快速成型的、乐高风格动画视频,评论国际冲突,特别是涉及美国、以色列和伊朗的冲突。他们起源于轰炸活动期间,现在使用人工智能和数字编辑在24小时内制作大约两分钟的视频。 尽管其美学常常粗糙——以爆炸的乐高人仔和对特朗普等领导人的讽刺描绘为特色——该团体坚持认为他们的意图是打击虚假信息,并提供一种“更诗意、更人性化”的视角。他们将他们的工作视为一场“真假”之争,反映了特朗普本人等人物使用的、由模因驱动的政治策略。 爆炸新闻的作品是“垃圾宣传”(slopaganda)的典范——廉价且快速制作、利用人工智能的个性化宣传。他们的视频获得了显著的关注,甚至引发了YouTube和Instagram的删除,但它们在其他地方仍然广泛传播。他们已经将影响力扩展到波斯语以外的受众,现在发布英文内容并将其品牌重塑为爆炸媒体,暗示着在这个不断演变的数字冲突领域中,他们将会有更雄心勃勃的项目。

《纽约客》杂志调查了一段在社交媒体上病毒式传播的视频宣传活动,该活动表面上支持伊朗,采用乐高风格的动画和朗朗上口的歌曲,在推特等平台上获得关注。Hacker News的讨论集中在这次宣传活动的效果和影响。 文章本身并未透露关于创作者(“团队”)的太多信息,但评论员们指出一个令人担忧的趋势:宣传并不*需要*深度伪造才能成功。相反,简单、引人入胜的内容,能够强化现有的信念——例如反对美国干涉冲突——被证明非常有效。 用户分享了相关视频的链接,包括一个针对皮特·赫格塞斯的视频,并指出其制作质量和记忆度出人意料地高。对话表明,人工智能的作用不仅仅在于制造逼真的假冒内容,还在于通过易于理解和分享的内容来放大宣传。
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原文

Explosive News posted its first Lego-style videos during the U.S. and Israel’s bombing campaign on Iranian nuclear facilities last June. When the war began, in February, the representative said, “Our team was ready, plans in place, engines revving—and, by day two, the Lego-style videos were back in action.” They started churning out new clips, writing scripts and then generating corresponding visuals using A.I. and digital editing tools. “Working full time, we can produce a two-minute video in about 24 hours,” the representative said.

American viewers who are accustomed to MAGA-style trolling might expect the Lego videos to be driven by a certain clickbait nihilism—brain rot, Tehran-style. But the Explosive News representative spoke of their efforts with a lofty earnestness. “Every scene, every frame, every hidden detail, and every idea in our work feel like our own children,” he said. He quoted a Persian proverb (“What comes from the heart will surely sit upon the heart”) and said that the team hopes that their videos can inspire viewers with “a glimpse into a different kind of spirit—something more poetic, more human, maybe a bit more gentle.” Those might not be the first words that come to mind when one watches clips of a Lego Trump whose plastic butt is often on fire. But Explosive News sees itself as fighting “a battle between truth and falsehood.” The spokesperson wrote, “Quick wisdom from the Qur’an: ‘The noblest are those who stay righteous.’ ”

However pure the team’s intentions, the Lego videos have succeeded, in part, because they meet the political discourse on the level to which it has already sunk. The Trump Administration has waged its own meme-based battles on its official social-media accounts with A.S.M.R. videos of deportations, white-nationalist in-jokes, and supercuts of bombings interwoven with video-game footage. Trump is reportedly shown a daily two-minute video montage of successful strikes on Iran to keep him up to date on the war, a kind of private military TikTok feed for a Commander-in-Chief with a toddler’s attention span. Even if Trump himself posts mainly on Truth Social, he is an image-obsessed creature of the internet; it stands to reason that Explosive News’ vengeful, mocking clips may actually reach his eyes, or at least grab public attention by speaking in the same showily combative terms as MAGA. With the help of A.I., the team can achieve a startling production value. As the representative put it, “We believe that dominant Israeli-American media narratives often present acts of force, injustice, aggression, and even violence in a polished and appealing way through the power of media.” He added, “Let’s face it—if truth isn’t flashy, it’s kinda lonely.”

Last year, a trio of media scholars published a paper titled “Slopaganda,” a new bit of twenty-first-century slang to describe the intersection of generative A.I. and propaganda. The authors argue that this burgeoning form is uniquely toxic, both because it is so quickly and cheaply produced and because it “introduces mass personalisation, creating tailored messages and narratives” in an instant. Slopaganda has quickly become our new Esperanto of international conflict. CCTV, the Chinese state broadcaster, ran an A.I. animation explaining the blockade of the Strait of Hormuz using martial-arts tropes, with the Iranians as anthropomorphized cats and Trump as an eagle-headed grand master unleashing expensive golden bombs. The X account of the Iranian Embassy in the Hague posted an A.I. animation depicting Trump’s internal monologue as an “Inside Out”-esque hive of demons, and the account of the Iranian Embassy in South Africa posted a slop video that referenced a famous COVID-era TikTok, of a man longboarding to Fleetwood Mac, to celebrate Iran’s bombing of Tel Aviv. But Explosive News’ videos might be the world’s most potent example of slopaganda yet, changing hearts and minds—or at least generating lots of clicks—one exploding toy battleship at a time.

Last weekend, YouTube and Instagram abruptly took Explosive News’ accounts down. Instagram did not respond to a request for comment, but a spokesperson for YouTube said that it had removed the channel for “violating our Spam, deceptive practices and scams policies.” (The Explosive News representative blamed the ban on “ ‘false flag’ media actions” by “Zionist actors.”) But the videos remain accessible on X and other platforms, and the removals seem to have done little to slow their reach. The representative said that at first the team was surprised by their international notoriety, because they’d aimed their content squarely at Iranian viewers, but that they’ve begun to mold the videos to a wider audience as they “better understand their preferences.” Last week, their channel on Telegram began posting in English instead of in Persian, and the group broadened its name from Explosive News to Explosive Media. This Tuesday, they posted a teaser on X for a new video featuring bombs falling over burning bald eagles and a Lego Moses watching the conflagration of a pyramid etched with Trump’s face. In the current geopolitical climate, perhaps slopaganda is just another path to global-media stardom. “We’re dreaming bigger,” the representative said. “New formats, cinematic vibes, maybe even longer works. Who knows?” ♦

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