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康沃尔渔(yú )(🌠)村的风(🆓)景(⛲)明信片田(📼)园诗(shī )误导了人们(🃏)。虽然(rán )过去(🛍)钓鱼是(shì )一种(🍥)养(🎺)家糊(🎗)口的(de )方式，但如(rú )今富有(yǒu )的伦(lún )敦(dūn )游客纷纷下(xià )(👋)山，取(qǔ )代了当地人，当地人的(de )(🐿)生计因(👑)此受到威胁。史蒂文(🙍)和马丁兄弟的关系(🚥)也很紧张。马丁是一个没有(yǒu )船的(🚸)渔夫(🚑)，因为史蒂文开始(shǐ )用(yòng )它来(lái )(🚢)为(wéi )一整天的游客(🌚)提(tí )供更赚钱(qián )(😞)的旅游。他们卖掉(🌊)了这(zhè )座家庭别墅，现在(🐑)看(kàn )来，最(zuì )后一(🙄)场战斗是(shì )和新(xīn )主人在海边的停车位上展开。然(⛳)而，情况很快就失控了(🐀)，而不(bú )(🧣)仅仅是因为车(🗳)轮夹钳(qián )(❕)。 Bait是一种(🚗)黑白，手(🈸)工制作，16毫米(🥋)胶(jiāo )片制作的电影。许多(duō )关于鱼、网(wǎng )、龙虾、长(📧)靴、绳(🤥)结(jié )和(hé )渔(yú )篮的(de )特写镜头让(♌)人(rén )(💸)想起(🐞)了蒙太奇景点(diǎn )的理论(lùn )。对(duì )(👄)不同社会阶层的(🚡)描述——可以说是(shì )阶级关系——也(🚻)让(ràng )人想(🐂)起了英国电(🧘)影中的社(shè )(📬)会(huì )(✖)现实主义传统(🚩)。然(rán )而，最重要的是，在影(yǐng )像中不同层(💕)次的电(diàn )影历(lì )(🖱)史(shǐ )参考(kǎo )文献之(🏡)下，当前许多政治关(🎞)联正(zhèng )在等待(👆)被发现。 The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp. Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations –(🌯) is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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