The deficit model of science communication assumes that the creation and dissemination of knowledge is limited to researchers with formal credentials. Recent challenges to this model have emerged among “e-patients” who develop extensive online activist communities, demand access to their own health data, conduct crowd-sourced experiments, and “hack” health problems that traditional medical experts have failed to solve. This article explores the aesthetics of medical media that enact the transition from a deficit model to a patient-driven model of visual representation and health communication. I present a framework for understanding the role of film and video in patient movements by analyzing the historical transition from researchers filming patients as nameless, voiceless human research subjects to patients recording their own health narratives through activist cinematography. By comparing several approaches to patient-centered video, I argue that imperfect production aesthetics play a critically important role in establishing the credibility of health communications.

During the interwar period research on turbulence met with interest from different areas: in aeronautical engineering turbulence became a subject of experimental study in wind tunnels; in naval architecture and hydraulic engineering turbulence research was on the agenda because of its role for skin friction; applied mathematicians and theoretical physicists struggled with the problem to determine the onset of turbulence from the fundamental hydrodynamic equations; experimental physicists developed techniques to measure the velocity fluctuations of turbulent flows. In this paper I describe the rise of turbulence in the 1920s and 1930s as a research field under the label of applied mechanics. Although the focus is on Germany, the international development of this research field is illuminated by the role which Ludwig Prandtl played as its acknowledged “chief” (G. I. Taylor). I argue that the multifaceted character of this research field calls for an epistemology and historiography which intrinsically takes the interaction of science and engineering into account.

“Deficit model” designates an outlook on the public understanding and communication of science that emphasizes scientific illiteracy and the need to educate the public. Though criticized, it is still widespread, especially among scientists. Its persistence is due not only to factors ranging from scientists’ training to policy design, but also to the continuance of realism as an aesthetic criterion. This article examines the link between realism and the deficit model through discussions of neurology and psychiatry in fiction film, as well as through debates about historical movies and the cinematic adaptation of literature. It shows that different values and criteria tend to dominate the realist stance in different domains: accuracy for movies concerning neurology and psychiatry, authenticity for the historical film, and fidelity for adaptations of literature. Finally, contrary to the deficit model, it argues that the cinema is better characterized by a surplus of meaning than by informational shortcomings.