Digital content in the context of Data storage device

Television broadcasts in the United Kingdom began in 1932, however, regular broadcasts would only begin four years later. Television began as a public service which was free of advertising, which followed the first demonstration of a transmitted moving image in 1926. Currently, the United Kingdom has a collection of free-to-air, free-to-view and subscription services over a variety of distribution media, through which there are over 480 channels for consumers as well as on-demand content. There are six main TV channel owners who are responsible for most material viewed.

There are 27,000 hours of domestic content produced a year, at a cost of £2.6 billion. Since 24 October 2012, all television broadcasts in the United Kingdom have been in a digital format, following the end of analogue transmissions in Northern Ireland. Digital content is delivered via terrestrial, satellite and cable, as well as over IP. As of 2003, 53.2% of households watch through terrestrial, 31.3% through satellite, and 15.6% through cable.

Digital rights management (DRM) is the management of legal access to digital content. Various tools or technological protection measures, such as access control technologies, can restrict the use of proprietary hardware and copyrighted works. DRM technologies govern the use, modification and distribution of copyrighted works (e.g. software, multimedia content) and of systems that enforce these policies within devices. DRM technologies include licensing agreements and encryption.

Laws in many countries criminalize the circumvention of DRM, communication about such circumvention, and the creation and distribution of tools used for such circumvention. Such laws are part of the United States' Digital Millennium Copyright Act (DMCA), and the European Union's Information Society Directive – with the French DADVSI an example of a member state of the European Union implementing that directive.

Synthetic media is digital content in various media formats, including text, image, and video, which has been automatically and artificially produced or manipulated. Although not all synthetic media is AI-generated, it often refers to the use of generative AI to produce content, such as deepfakes, through the use of artificial intelligence within a set of human prompted parameters.

Synthetic media as a field has grown rapidly since the creation of generative adversarial networks, primarily through the rise of deepfakes as well as music synthesis, text generation, human image synthesis, speech synthesis, and more. Though experts use the term "synthetic media," individual methods such as deepfakes and text synthesis are sometimes not referred to as such by the media but instead by their respective terminology (and often use "deepfakes" as a euphemism, e.g. "deepfakes for text" for natural-language generation; "deepfakes for voices" for neural voice cloning, etc.) Significant attention arose towards the field of synthetic media starting in 2017 when Motherboard reported on the emergence of AI altered pornographic videos to insert the faces of famous actresses. Potential hazards of synthetic media include the spread of misinformation, further loss of trust in institutions such as media and government, the mass automation of creative and journalistic jobs and a retreat into AI-generated fantasy worlds. Synthetic media is an applied form of artificial imagination.