The University of Science and Technology of China and Xinhuanet have jointly produced three micro films Always With the Original Intention, The Light of Science, The Moon Appears Brighter Over My Hometown, which have shaped the cinematic images of scientists of the older generation, respectively based on the lives of Guo Yonghuai, Yan Jici and Qian Linzhao. The three micro films used some pivotal props to blend the exemplary events of the protagonists into plots, and composed conflicts and struggles to shape characters, so as to present the honorable morals of patriotism and self-sacrificing of the scientists. However, the films simplify the relationships among the characters and fail to several non-fictional ones.

Tales From The Loop, a science fiction TV drama, conveys the dual emotional tendencies of "depression" and "cure" through the circular and radial narrative structure. Its philosophy derives respectively from the emotional tearing triggered by the tragic conflict and the rational bridging guided by the spirit of tragedy. The science fiction narrative in the TV drama combines technology and emotion very well, which not only shows the human emotion under the influence of science and technology, but also highlights the disenchantment of technology through the power of emotion. The TV drama depicts the twists and turns of life through interactional observation, and enacts the elements of tragedy through the art form of science fiction. The audience could gain spiritual purification through the emotions of "fear" and "pity" displayed in the TV drama. The art form of sci-fi utopia can bring us unusual aesthetic experience.

Science fiction is a genre of works combining the principles of science with the methods of literary creation, an integrating product of culture, science, technology, which also demonstrates the comprehensive strength of national science and technology. Based on the development of science fiction research in China, this paper draws a scientific knowledge map using CiteSpace for a visual analysis based on 1264 academic papers published in "CSSCI source journals" and "PKU core journals" from 2000 to 2020. The research sorts out the current research status and hot topics of Chinese science fiction studies in the past 20 years, summarizes the knowledge mapping and explores the future trends of Chinese science fiction research. The study finds that science fiction research has been increasingly flourishing from 2000 to 2020, covering the fields of literary texts, film and television industries, cultural theory, and technology and society. Research on sci-fi theories, relationships between science fiction and science popularization, promotions of sci-fi works, sci-fi industries, and grassroots science fiction fandom are the future trends of science fiction research, indicating that Chinese science fiction research has huge room for development.

In the times of crisis, editors tend to face a task of emergent editing and publishing, but they still need to dig deep into the demand of book market, and to publish some popular books to cater to the publics' attention to the emergency event. The article is about a book of COVID-19 prevention, also a "Best Book on China". Content selection of the book was changed from the development of COVID-19 pandemic to public immunity enhancement, and the creation concept was changed from "giving people fish" to "teaching people fishing", which shows that the creating and editing team of the book adheres to the guiding spirit of scientific reliability, inspiration, and practicability. The good market acceptance and social recognition all proved that a successful health popular science book editing team should take advantage of the social trend, think ahead of the times, and have a healthy cooperation between the author and the editor.

The development of biographies of modern scientists keeps pace with the times. In the modern age of science and technology, when science and technology are valued and scientists are respected, there are more and more biographies of the scientists. In the development of modern scientist biographies, they are influenced by ancient biographies and the tradition of "historical biography". This is mainly reflected in three aspects. First, they take history as a mirror, promote the spirit of scientists, and attach importance to the educational function of scientists' biographies. The second is that they use the style of grand narratives by emphasizing the scientists' close connections with their times and the science history. The third is that they use factual events to shape the images of the scientists by selecting detailed and authentic materials from their lives. While inheriting the tradition, modern biographies should also learn from the best of the scientists' biographies written by foreign writers, so as to creatively and compassionately highlight the personalities of the scientists for better reading resonance. Excellent scientists' biographies need to take the whole process of biographical writing and creation into consideration, thus telling the stories of Chinese scientists well.

Biographies of contemporary scientists are the carriers of the spirit of scientists. Through the analysis of two cases of Biography of Peng Shilu, one from the Documentation Project series and other from the One-Hundred Years' Dream series, the article compares the narrative differences between "historiography" and "literature", explores the advantages and disadvantages of the different narrative modes in the two biographies, and probes into the deep connections and combination of the two narrative modes in the two books, by enumerating outstanding cases that integrate the two modes. This article believes that the two narrative modes in the two biographies are not in opposition to each other but are interchangeably used to cater to different narratives. The two modes, if properly used, could better preserve the scientists' valuable experiences in vivid narratives for better public promotion.

Film and television works are one of the most important media for the public to get to know some scientists, making it necessary for an analysis on the mechanisms of scientists'image shaping in the media. Our study takes the high Douban score TV show Minning Town (scoring 9.3) as an example, studies the image of the scientist—Professor Ling Yinong—in the show, and analyses the reasons why the audience love the scientist character. We find that firstly, a scientist character based on real-life person is more appealing; secondly, in order to create a complex character, it is necessary to enrich the character with many details through artistic modification; thirdly, reasonable plot arrangement could be used to break the stereotype of a scientist to endow the character with strong personality; lastly, the essence of the character still lies in his or her unbending spirit as a scientist.

Through conducting eye-tracking experiments and in-depth interviews, this paper presents a study on the reception of popular science images of HPV among female audience, the results of which reveals the micro-cognitive process of reading popular science images of HPV and explores the production strategy of health popular science images by mass media. This paper analyzes the persuasion effect and effect of visual image of three groups of different types of popular science pictures: visualization strategy, "marking" strategy, and graphic information adjustment strategy. Finally, based on the existing research, suggestions are put forward for the visual health popularization of mass news media. For one thing, image production should be carried out from the perspectives of the audience and social interaction; for another, the effectiveness of scientific knowledge encoding and decoding can be improved through adopting the scientific image production strategy of "realism" representation.

This article summarizes the writing philosophies of Bian Depei's (1926—2001) popular science works, which can be summarized into three basic concepts. Firstly, his writings target at the teenagers; secondly, he writes to conquer superstition and pseudo-science to cater to the publics'concerns at his times; thirdly, he proposes that writers should respond to the spirit of the epoch. His writing styles are reader-friendly and accessible to the public, especially with his appropriate usage of the "why-because" pattern and his good command of popular scientific knowledge.

As a representative writer of the Scottish Renaissance during the 1980s, Iain Banks is certainly a remarkable name. Apart from his "serious" writings, he also publishes a series of "New Space Opera" works under the name "Iain M. Banks," where he introduces a galactic, post-scarcity, and anarchosocialist utopia "Culture." This is usually considered the dawning of the "British SF Boom" emerging since the 1990s. In Iain M. Banks, as part of the "Modern Masters of Science Fiction" of University of Illinois Press, the author Paul Kincaid anchors his argument on the doubleness of Banks's writing. He starts from R. D. Laing's "Divided Self" theories, demonstrating the left-winged political appeals embedded in Banks's novels, while amplifying his influence on contemporary Scottish literature in general.