I argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using the Planet Earth (2006) series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market contexts. I connect spectacle in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films.

In this paper, I discuss the development and use of images employed by the Dresden Royal Museum for Zoology, Anthropology and Ethnography to resolve debates about how to use visual representation as a means of making ethnographic knowledge. Through experimentation with techniques of visual representation, the founding director, A.B. Meyer (1840–1911), proposed a historical, non-essentialist approach to understanding racial and cultural difference. Director Meyer's approach was inspired by the new knowledge he had gained through field research in Asia-Pacific as well as new forms of imaging that made highly detailed representations of objects possible. Through a combination of various techniques, he developed new visual methods that emphasized intimate familiarity with variations within any one ethnic group, from skull shape to material ornamentation, as integral to the new disciplines of physical and cultural anthropology. It is well known that photographs were a favoured form of visual documentation among the anthropological and ethnographic sciences at the fin de siècle. However, in the scholarly journals of the Dresden museum, photographs, drawings, tables and etchings were frequently displayed alongside one another. Meyer sought to train the reader's eye through organized arrangements that represented objects from multiple angles and at various levels of magnification. Focusing on chimpanzees, skulls and kettledrums from Asia-Pacific, I track the development of new modes of making and reading images, from zoology and physical anthropology to ethnography, to demonstrate how the museum visually historicized humankind.

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.

Among the many limitations of the deficit model of science communication is its inability to account for the qualities of communication products that arise from creative decisions about form and style. This paper examines two documentaries about the nature of time – Patricio Guzmán's Nostalgia for the Light and the first episode of the BBC's Wonders of the Universe series – in order to consider how film style inflects science with different meanings. The analysis pays particular attention to the ways in which authority is assigned between film author, narrator, and depicted subjects and the degree to which different film styles promote epistemological certainty or hesitancy.

As the deficit model's failure leaves scientists searching for more effective communicative approaches, science communication scholars have begun promoting narrative as a potent persuasive tool. Narratives can help the public make choices by setting out a scientific issue's contexts, establishing the stakes involved, and offering potential solutions. However, employing narrative for persuasion risks embracing the same top-down communication approach underlying deficit model thinking. This essay explores the parallels between movie censorship and the current use of narrative to influence public opinion by examining how the Hays Office and the Catholic Legion of Decency responded to science in movies. I argue that deploying narratives solely as public relations exercises demonstrates the same mistrust of audiences that provided the foundation of movie censorship. But the history of movie censorship reveals the dangers of using narrative to remove the public's agency and to coerce them towards a preferred position rather than fostering their ability to come to their own conclusions.