Lies are not words that do not mean what they say, but words that do not mean what they say. To master the fraudulent texts is an important index to judge whether artificial intelligence has evolved or not. Science fiction movies have all sorts of narratives about humans and robots deceiving each other, which not only outlines the complex aspect of human-machine relationship in the post-human context, but also expresses a kind of nervous concern about the ability of artificial intelligence to"tell the truth". This article makes its discussion mainly in three aspects:The intention difference of man-machine deception, the text characteristic of the lie world and the choice and acceptance of the"deceived"subjectivity to explain how artificial intelligence "shares" human values that are integrated into post-human totality.

Xia Zi, a noticeable writer of science fairy tales, comes in the public eye in recent years, and her creation is distinct in both content and form. Her works have returned to the native culture consciously, echoing to the theme of cultural root-seeking in the mainstream literature more than 30 years ago, and changed the unicity of science fairy tales, mixing multielements together in the context of science, such as mythic story, immortal story, anecdote, legend, history, fantasy, reality, etc. In the meantime, she contributes to paying more attention to the relevance with reality, abandoning the illusionary quality, and blessing the beauty of human nature.

In October 2019, Wang Jinkang published his feature-length SF The Crystal Egg of the Universe. This work, along with Escape from the Mother’s Universe (2013) and Mother Earth and Father Sky (2016) , draws a picture of doomsday scenario for us with a magnificent imagination. The tension created by historical experience in Wang Jinkang’s trilogy To live, on the one hand, makes us aware of the difficulties in understanding China in the 20th century, and on the other hand, is an opportunity for us to reflect on the present.

With the booming of children's popular science books market, picture books are becoming a popular subject for popular science writing. However, picture books, especially popular science picture books, are still in their initial developmental stage in China, which has not been widely accepted by Chinese readers. This paper briefly introduces the basic constitutions and usages of popular science picture books, discussing the critical elements with supporting examples relating to popular science picture book writing in the following four aspects:The law of children's cognition, basic conception, emotional care, and the relationships between science, literature, and arts.

Jason Chin, a Chinese-American, is a leader in the field of scientific picture books. He has won many important picture book awards including Caldecott Award, and his masterpieces include The Grand Canyon and so on. This paper focuses on Jason Chin's personal experience and creative style. We think that life experience of childhood in the countryside makes Jason Chin prefer non-fiction subjects. We can see that Jason Chin fused together different discipline knowledge in his books, his artistic quality is very strong and unique, and he thinks both story and scientific knowledge are important. Besides, Jason Chin always pays attention to the interaction with readers in his books, which can stimulate the reader's reading interest. For creators and publishers of original science picture books in China, Jason Chin's grand world view, practical and serious creative attitude, and unique perspective of creating are all worth to learn.

The epidemic writing in Wang Jinkang's novels narrates the virus related future imagination from a new perspective of "ecological balance", surpassing the previous micro vision of epidemic literature's real life and forming a macro historical and ecological vision. In addition, through the creation of the "avant hero"with the characteristics of independence and saints' benevolence, it conveys the thinking of science and ethics, behind which is the expectation of the integration of science and morality. From the perspective of the relationship between science fiction and real society, Wang Jinkang's epidemic writing conveys ecological knowledge, inspires ethical thinking, activates crisis awareness, and gives full play to the significance of literature's prediction and enlightenment, thus fully showing the practical significance and humanistic care of "science fiction" in the era of rapid technological development.

As a new film form that uses artistic techniques to process and display scientific knowledge and plays the role of popular science, science special-effects films are different from other film themes in terms of expression forms and production technology, but they are not divorced from the essence of film art. This paper analyzes the creation of science special-effects films, mainly discusses the creative consciousness and methods of science special-effects films from three aspects:film theory and thinking, story writing, and audio-visual effects, and puts forward the creation concept of telling scientific stories in film language.

The space station is not only a brilliant achievement of human's science and technology, but also a source of inspiration for sci-fi films. The imagination of sci-fi films about its construction involves the transcendence, simulation and utilization of gravity in the natural sense, races' competition, collaboration and communication in the social sense, and group's isolation, crowding and loneliness in the psychological sense. The space station is also an intermediary for human exploration of cosmos. The imagination about its situation in sci-fi films describes technical failures from the perspective of risk and response, ecological disasters from the perspective of relationship between aliens and mankind, and mental disorders from the perspective of madness and delusion. Space stations are also unprecedented bases for human beings. The imagination of sci-fi films about their functions shows the possibility of their development from nodes to cities in the economic field of view, conceives the diversity of their purpose and strength in the political field of vision, and examines their effectiveness from live broadcasts to settlements and immigrants in the cultural field of view.

The proposal of the"three natures"of the science and education films plays a positive role in promoting the cause of science and education films in our country. However, because of the unclear boundary of"three natures", it leads to mutual restriction in the following theoretical elaboration and creative practice. In order to solve this problem, this paper puts forward the typological creation of science and education films, which is convenient to delimit the boundary and provides a more accurate reference for all kinds of science and education film creation. It is expected to promote the prosperity and development of science and education films on the premise of not violating the characteristics of science and education films. The genre creation of science and education films is different from that of feature films. Different types of science and education films should follow their genre conventions in their creation.

Urban imagination plays a crucial role in SF film's narrative. The fantastic future urban-space is not only the geographical projection and extension of real cities, but also endowed with rich spatial political meanings. The imaginary cities of post-human SF films are built in a binary oppositional geographical structure. By employing Edward W. Soja's post-metropolis theory, this paper explores the bipolar spatial imagination in the film Elysium. It is the belief of the author that the future cityscape in the film shows a picture of fractal city as Soja proposed, and reflects the spatial mismatch in American post-metropolises in reality. Meanwhile, the Utopic ending of the film opens up a new space for popular cultural imagination, and expresses the need for spatial justice.