Huang Mingfen's theoretical resources in science fiction film studies primarily stem from his early work in art psychology, art communication, new media art theory, and the interdisciplinary rediscovery of new media literature and arts, particularly the "nine elements of communication" theory. Science fiction film theory has emerged as a "prominent field" in humanities scholarship since the new century, and Huang's academic endeavors in this area represent a bold self-transcendence and theoretical innovation, building upon his previous academic trajectory and methodological approaches. Huang employs an interdisciplinary methodology, integrating the strengths of natural, humanities, and social science approaches to construct a digital humanities research system that combines Chinese characteristics with an international perspective. Transitioning from art psychology and art communication, he ventures into new media creativity, post-human ethics, an evolving universe, and post-industrial aesthetic paradigms, establishing a multifaceted discursive system. This system not only encompasses an interplay between Eastern and Western academic theories but also highlights the modern scientific rationality of science fiction film criticism and interpretation. Huang's work significantly contributes to the transformation and variation of Chinese-style humanities and social science theoretical paradigms.

Huang Mingfen  /  science fiction film theory  /  posthuman ethics  /  post-industrial aesthetics  /  "nine elements of communication"