In the era of new media, short videos has grown into one of the popular video forms among Chinese netizens. Popular science short videos, as an important branch of short videos, play a pivotal role in the popularization of science, eliminating the barriers of time and space in knowledge dissemination. Taking "Zhang Chenliang's popular science daily" account as the research subject and utilizing content analysis, this study reveals the techniques and Tao of creating popular science short videos in the field of life sciences. The techniques mainly include the popular science themes, release time, types of titles, presence of advertisements, language style, and keeping up with current trends. The Tao refers to scientific spirit, mission commitment, cultural cultivation, and educational sentiment. By extracting the key elements possessed by excellent popular science short videos, this study aims to provide valuable insights for content producers in the field of popular science short videos.

In recent years, popular science short videos have shown a prosperous trend, but they have also encountered various issues in content creation. This study selects 63 popular science short videos released by Bilibili uploader "Bi Dao THU" from October 2019 to May 2021 as research samples. Drawing on the three-level framework theory and employing data analysis, content analysis, and user behavior analysis, this study focuses on exploring the optimization strategies in content creation. It addresses the main problems discovered in the research, such as the significant influence of commercial factors on objective expression and the relatively limited variety in presentation styles. From the perspectives of work quality and effectiveness evaluation, as well as the integration of theory and practice, the study proposes four pathways for improving and enhancing the quality of popular science short videos: balancing commercial and content logics, exploring multidimensional presentation styles, establishing brands and brand matrices, and strengthening a sense of responsibility.

The mission of popular science is to "lead people through the door," and professors, even academic-level scientists, undoubtedly serve as the most trustworthy "guides." The popular science short video team, "No-Test-Drilling Grandma Wu," where the author works, focuses on creating short video IPs with the on-screen commentary by Wu Yuren, a scientist. This article analyzes the creative experiences of Wu Yuren's short video team in balancing the depth of content and the breadth of audience appeal. It explores their practices of selecting hot topics and focusing on cutting-edge technologies, utilizing everyday props to demonstrate small experiments, optimizing video effects through editing, and finding new topics through interactions, fostering an atmosphere of mutual learning by inspiring viewers to think critically.

Liu Cixin is a domestically recognized "essential Sci-Fi" writer, whose works have the cultural character of "engineering practicism" and carry grand narratives and ultimate questioning. Its specific manifestations include: the pursuit of the beauty of engineering creation, the value of engineering practice based on historical rationality, and the pioneering and enterprising engineering strategic thinking. This not only enables Liu's Sci-Fi to show a calm Chinese style and a calm and rational modern style, but also enriches the dimension of exploring the relationship between man and nature in science fiction, and embodies the cultural spirit of China's rapid industrialization process. "Engineering practicism" is an important factor for the realization of the social responsibilities of science fiction in Liu Cixin's works, and it also helps to understand the substantive internal unity of some textual conflicts in his scientific writing.

As a leading figure in Chinese science fiction, Liu Cixin has mentioned the concept of "species images" and indeed shaped a group of distinctive racial images in his works. This paper primarily explores the significance and value of species images in Liu Cixin's science fiction novels. Through the portrayal of species images, Liu Cixin questions technocracy and moral ethics, expressing dialectical reflections on technological development. Additionally, as a Chinese science fiction writer, Liu Cixin's portrayal of species images contains strong Chinese characteristics, aligning closely with the notion of human unity against cosmic disasters or alien invasions and the consciousness of a "shared human destiny." Furthermore, Liu Cixin consistently believes that science fiction can transcend human self-admiration. Through intense debates between humans and alien races, Liu Cixin's science fiction indeed achieves the goal of "transcending narcissism."

Rapidly advancing the effective dissemination of "Dual Carbon" (Carbon Peaking and Carbon Neutrality) knowledge is a pivotal challenge for the publishing sector in the backdrop of the "Dual Carbon" strategy. Drawing upon the Media Affordance Theory, this article delves into the present landscape of "Dual Carbon" popular science book publishing. It uncovers issues in the publishing sector, such as the ineffectiveness of production affordance, superficial exploration of social affordance, and inadequate activation of mobile affordance in the realm of "Dual Carbon" popular science books. Stemming from these findings, the article suggests that the publishing industry should embrace innovative trajectories, encompassing the rejuvenation of internet-centric thought, amalgamation of diverse thought processes, user-centric strategies, and product-oriented approaches. Furthermore, it emphasizes the importance of harnessing technological advancements for content innovation and fostering cross-platform content dissemination.

The cityscape of cyberpunk films is characterized by the pastiche of different oriental elements. The spatial construction of cyberpunk cities is not only an aesthetic statement, but also an expression of power structures and spatial politics. It reflects the fantasy and anxiety of Euro-centralism towards the "East", and this spatial imaginary is endowed with different connotations with the changing global cultural landscape. From the 1980s to the 1990s, the orient elements were presented as a kind of aggressiveness and anxiety brought about by the structural reset of globalized capital, which is a symbol of the Western fear of city cultural hybridity and racial cohabitation. Starting at the 1990s, the hybridized oriental space in cyberpunk films was imbued with a cultural resistance meaning, providing a realm of "heterotopia" imagination imbued with liberation for the Western subjects oppressed by the technologized urban machine. In the latest cyberpunk films, the once heterotopian oriental space has been emptied of its resistance meaning and, as a geographical consumption element, has been implanted into the visual spectacle created by digital technology.

Released in 2022, the domestic sci-fi comedy Moon Man marked a significant milestone in the realm of science and film integration in China, primarily due to the pivotal role of its scientific consultants. This film has emerged as a paradigmatic example for teams dedicated to the fusion of science and cinema. Technological advancements have catalyzed the industrialization of the film sector, while the synergy between science and artistry has amplified the allure of science fiction films. This article delves into the film's innovative appeal and its success factors, examining the amalgamation of science fiction with comedic elements, the nexus between scientific principles and artistic representation, and the profound impact of scientific consultancy. The insights gleaned from this analysis offer valuable reference points for future endeavors in science fiction film innovation and the broader science-cinema integration mechanism.