Wang Jinkang's long science fiction Humanoid, Leopard Man, Cancer Man, and Dolphin Man form a "New Human Tetralogy", confronting human history and the survival crises of contemporary society. From the viewpoint of the relationship between modern technology and the survival of mankind, together with the relationship of existence and life, Wang criticizes and reothinks the predicameats of technology intervention, New Human, development and ethics. Moreover, the novels aim to skillfully strike the real world and the unreal world with the virtual space. The Tetralogy completes the grand prospects of building a community of shared future for mankind in the form of literature.

Over the last hundred years or so, major discoveries in paleontology have continuously emerged, which have continuously promoted the technological innovation and industrial development of science films. Recently, science films with special effects that based on China's major discoveries and research in paleontology have become a unique realm with great potential. This article sorts out the relationship between the achievements of paleontology and the early development of films, especially the development of science films with special effects, focusing on the integration of the major discoveries of Chinese paleontology in the past 30 years and the domestic science films with special effects in the past ten years, with an analytical view on this phenomenon of "coordinated progress".

Based on scientific laws and social laws, Wang Jinkang's science fiction is richly woven of supposition, deduction and demonstration about the future and "Alternate History", which are used to explore the path of human development and reveal the essence of the universe, human beings and reality. Its focus, however, is science and technology. His works not only present a the prospect of future science and technology, createing a unique sense of wonder of science fiction aesthetics, but also alert the possible alienation in science and technology, including a scrutiny of the development of artificial intelligence, virtual space technology and biotechnology. He believes that the development of science and technology is the trend of the times, but human beings should follow the natural laws. At the natural level, the development should be conducive to maintaining of biodiversity and ecological balance; at the human level, it is necessary to maintain the overall human development and thus transcend the values of individualism.

The term "robot" has been existing for more than 100 years since its coinage, during which it has undergone a complex evolution. From Karel Čapek's "universal robot" to Isaac Asimov's "humanoid robot", people's acceptance of robots had also gone through fluctuation. With the emergence of "three laws of robotics", the "Frankenstein complex" is no longer as frightening as it once was. Based on the turning point of robot narratives, this paper attempts to explore the evolution process of the robot images in Asimov's works, and to investigate the background and connotation of the three laws, so as to trace the mythical source of "subject". The meaning of "subject" and the robot's working process towards the "subject" is analyzed thereupon, leading to the revelation of various aspects of the "subject", in hope of triggering people's dialectical thinking on the relationship between humans and robots.

In William Gibson's cyberpunk series, homesickness and the longing to return home haunt the characters, especially in Neuromancer and Idoru, where the "wandering—homecoming" narrative pattern repeats. Both novels consider Japan as a place of wandering while regard America as home. By recalling the imagination of home and arranging the characters to return home, Neuromancer and Idoru reconsolidate the dichotomy of East and West, thereby presenting a retreating position that is contradictory to the "centerlessness" of the "cyber" and the subversive nature of "punk". Although in Idoru, the virtual "walled city" as a dream home for both human and virtual idols has the potential to break the East-West dichotomy, it also harbors the danger of romanticizing and exoticizing the East.

With the rise of the Internet, the contemporary communication activities have entered "the era of audiovisual-oriented image-reading", and animation, as a form of art with prominent personality, has gradually entered the field of health communication. This paper analyzes the multi-modal composition, meanings and relationships of various modes in animation works popularizing health science by using the multi-modal discourse analysis method and the multi-modal image analysis framework in the theory of visual grammar. On the basis of discourse analysis, this paper summarizes the advantages of animation science popularization, which make animation irreplaceable in the popularization of health science. At the same time, this paper discusses the existing problems of health science animation in our country, and tries to put forward corresponding development countermeasures, in order to give full play to the advantages of animation in the field of health science popularization, and promote the health literacy and the development of health cultural industry.

There has been many classic female robot images in science-fiction narratives, the origin of which could be traced back to the female robot "Andréide" in the novel Tomorrow's Eve (L'Ève future) created by the 19th century French writer Villiers de l'Isle-Adam. The highly human-like feature of Andréide not only breaks away from the simplicity and roughness of early forms of humanoids, but it also opens up a creative trend for the later female robots (fembots) or "cyborgs", which contributes to the current debates of human-robot relationships and provides a possible prospect for the posthuman existence. Therefore, Andréide could be regarded as a milestone for female robot images from "machine" to "human" in the history of science-fiction narratives, and has become the creative source of many science-fiction works, such as Ghost in the Shell.

Recently, popular science micro films of Xinjiang have won numerous awards. This article analyzes the representative micro films of Xinjiang and finds that they have the following common production features:adopting alternative media promoting channels for better outreach; using the lovely image of "Adorable Baby" as the representative image of scientific knowledge so as to gain the effect of "soft dissemination"; using the special cuisine of Xinjiang to add flavor to popular science, bringing fun to education to the public; integrating with the cause of popular science of Xinjiang to reflect its development faithfully.

Chinese science fiction is rapidly developing, but the accumulated science fiction resources have not been well transformed into cultural products. This paper discusses the opportunities brought by the digital visual arts to the development of Chinese science fiction, believing that digital visual arts can accelerate this process and the "short-form videos" is more suitable for the development of Chinese science fiction. Taking Wang Jinkang's works as an example, this paper classifies the existing development modes of short-form videos, and expounds the pros and cons and the prospects of the two modes of"collage videos" and "self-made special effects".

Characterized by great experience, the 4D science film can achieve the purpose of "education with fun", which is currently seemed as one of the most popular forms of education in popular science venues. This article takes the creative practice of the "Prehistoric Titans" trilogy of the Shanghai Science and Technology Museum as an example, and summarizes some of the rules of 4D science film creation, including relying on scientific research, developing new form of team management, focusing on technological application, and creating with humanistic concerns. Meanwhile, this articles puts forwards some corresponding questions and possible solutions as suggestions, in order to provide references for practitioners to better understand the needs of the audience and fully develop the educational purpose of the 4D science film.