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    A group of cultural calendars, with creative designs, informative content and delicate printing, were hot sellers last year and now posting photos of the calendars has become a new fad on social networks. Many people posted photos of their cultural calendars with their comments to arouse memories of traditional knowledge. Though the cultural calendars are a return to traditions, designers are racking their brains to make the calendars appear more attractive.

    On a recent visit to the Museum of Modem Art with a friend and her daughter, wandering through the museum's exhibits, I was struck by how often my friend's 13-year-old daughter asked us to take photos of her with her smart phone in front of the artwork. Then, she gazed at the photos which she would then post on Instagram, Snapchat and all the rest. She was not the only person who was doing this; it seemed everyone was busy taking photos of themselves "experiencing" the museum.

    This is by no means a criticism of my friend's daughter or anyone else. What was concerning, at least to me, was that in between being photographed and posting, my friend's daughter had no interest in the artwork, a fact which didn't seem to matter or have anything to do with wanting to post herself as someone enjoying the experience.

    When I was her age, I had no interest in going to museums either. Having no interest in art at her age (and any age) is completely normal. But what is disturbing is how much of a young person's energy these days goes into creating an image of the life they're living and the character they "are" in that life. While creating a self-image has always been a big part of growing up and figuring out our identity, social media seems to have changed the rules of the game. Social media has not just increased the pressure and possibility of creating a self-generated(自我创造的) self-image, but also distorted(歪曲) the process through which we become who we are. Young people now seem to be creating an image of who they are in place of becoming who they are, posting their life rather than living it.

    Social media has turned life and its experiences into an exercise in narcissism(自恋，自我陶醉). No matter what the experience is actually about, it becomes about you, the person who is living it. A concert is not about the music, a restaurant not about the food and a sport event not about the sport; it's all about you, the doer, and what the event says about you. As a result the more we use life create an identity, the more distant from life we feel. Instead of being part of it, we feel as if we have to keep generating new life material.

    I hope the next time you post your story, pause for a moment and experience where you are, feel what it feels like to live what you're living without using life for your benefit, or for anything at all. Just live, without the narrative(叙述). While you may feel this practice is a threat to your identity, causing you to miss a chance to prove your value, in fact, the benefit will far outweigh any loss it brings.

    Like many children, young Lotte Reiniger was crazy about movies, which at the time were a completely new invention. She taught herself how to cut paper silhouettes（剪影）, of people, animals, and objects. I could cut silhouettes almost as soon as I could manage to hold a pair of scissors, Reiniger said. “I could paint, too, and read...But everybody was surprised at the scissor cuts”

    At first, Reiniger wanted to be an actress, but her skill at making silhouettes drew the attention of the German film industry. Before 1927, films were silent. To help the audience understand the film, title cards with printed text appeared during the film between scenes. Reiniger helped create title cards for films, using her silhouettes. In 1918, she was asked to provide stop-motion animation（定格动面）, in which objects are photographed（拍摄）in a series of slightly different positions and then replayed at high speed so that the objects appear to move on their own, for wooden rats（老鼠）in the movie The Pied Piper of Hamelin. It was a breakthrough that led to her own films, first short films and then, in 1926, The Adventures of Prince Achmed, the first full-length animated film.

    Although Reiniger once described herself as “a primitive（原始的）caveman artist”, her work is not simple. She carefully cut bits of card, paper, and wire, creating wonderful shapes, and then made them move and dance by hand. The black shapes were then placed on colorful backgrounds. She made more than 60 films, around 40 of which survive, all cut by her own hands. Most were based on timeless fairy tales, like Cinderella and Sleeping Beauty.

    Reiniger was truly a pioneer both in animation and for women in film-making. Though her last film came out in 1980, her style is still influential and can often be seen in today's films.

    Britain's pub landlords (酒吧店主) are looking with a worried eye to the UK Chancellor's budget for fear that the annual tax gathering round will strike another blow to a traditional industry already reeling (蹒跚). Thousands of pubs have closed since the financial crash in 2007.

    The Plough, which was once a coaching house for travelers, has been serving Britain's famous warm beer since the days of Shakespeare. Now it is under threat too. "Yeah. So many pubs have been closed over the last few years even in this area," said Derek O'Neil, the manager of The Plough Pub.

    Many reasons are the cause—a ban on smoking in public, severe laws against drinking and driving and high taxes have all combined to kill off nearly 10,000 pubs in the last seven years, according to the British Beer and Pub Association. With the closures, pubs are being redeveloped. Many have turned into supermarkets, where the beer is sometimes cheaper.

      Britain's pubs continue to play an important part in the UK economy, selling thousands of different beers and employing more than a million people. The reality, though, is pubs are suffering something of a hangover (遗留物). In the last 15 years the amount of beer sold in pubs has fallen by eight million barrels to just under 36 million a year. Pub landlords want tax breaks (税务减免).

    "People have less money in their pockets, so they can't go out and spend it and habits are changing—so much alcohol is nowadays drunk at home," said Brigid Simmonds, Chief Executive of the British Beer and Pub Association. "Yeah, I miss the pubs where there's a lot of character, especially 30 years ago. You know there was great fun in them."

While pubs are still much loved, they're discovering that love isn't enough to survive 21st century economics.

    A survey has shown that what you do on a plane can be determined by which nationality is listed on your passport.

    According to the results of an international passenger survey, Australians are the biggest drinkers on board with 36 percent choosing to down the hatch, compared to 35 percent of Americans and 33 percent of Brits.

    The Airline Passenger Experience Association ( APEX) spoke to around 1500 people, aged 18 and older, who have travelled by plane at least once during the last three months and were living in the United States, United Kingdom, Germany, Japan, China, Singapore, Australia or Brazil.

The results found Chinese travelers are most likely to nod off once the sea-belt sign switches off. They are also the first to reach for their credit card for some in-flight shopping and the biggest fans of gaming. Americans on the other hand like to use their time in the air more productively —when not drinking —choosing to work while flying a 350000 feet.

Meanwhile, Brits and Germans are the best at making chat with random strangers — spending 50 percent more time than any other nationality. Comparatively, Brazilians conduct their conversations online via e-mail, messaging apps or social media.

    Despite plane food having a bad reputation, seven out of ten interviewees said they were happy to eat up on the selection in-flight snacks and meals. In-flight magazines were also popular with four out of five passengers claiming to read them.

    The international flyers did however express their desire for better in-flight entertainment. “The industry has greatly improved the comfort, entertainment and onboard service, and passengers are accepting those improvements,” said Russell Lemieux, APEX executive director. “At the same time, passengers are demanding more from their air travel experiences which will drive more improvements touching all aspects of the journey,” he added.

    Of the several films Hirokazu has made about childhood and children, this one is the most modest, but no less pleasing for its delicate style and small setting. I Wish was originally called Miracle, and the change is for the better. The two-word title makes you want to know who's wishing for what, while the single word sounds plain and self-praising. This wise and funny film works small miracles in describing such a moment when kids turn from the wishfulness of childhood into shaping the world for themselves.

    The sweetly reflective hero, a sixth-grader named Koichi, starts out by wishing for a volcano to erupt. Not just any volcano, but the one that towers above his town, smoking heavily and giving off ash. An eruption would lead to a withdrawing, which would lead, at least in his mind, to a reunion with his father and kid brother, who've been living in Hakata while Koichi lives with his mother and retired grandparents in Kagoshima. The volcano, knowing nothing of this, refuses to erupt, but Koichi hears of another approach to realizing the desired miracle.

    One of the pleasures of I Wish is watching how kids behave—how Koichi attacks his dinner, for example. Another pleasure is rediscovering how kids think. These kids can be logical and ever so tricky. But children's thought processes can also be fancy. A boy wishes he could play baseball like one of baseball stars, who eats curry for breakfast; so he, too, starts eating curry for breakfast, instead of practicing on the field. Another boy tries to wish his dead dog, Marble, back to life. And what does Koichi finally wish for? I wish you'd see this delightful film to find out.