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康沃尔渔村的风景明(míng )信(🐽)片田(📼)园诗误(🐌)导(dǎo )了人们(men )。虽(suī )然过去钓鱼是(🤢)一种养家糊口的方式(shì )，但如(🍖)今富有的伦敦游(😧)客纷纷下山，取(qǔ )(🎏)代了(le )当地(dì )(♑)人，当地人的生计(🔸)因此受到(dào )威胁。史蒂(dì )文(🙍)和马丁兄弟的关系也很(🕌)紧张。马丁是一个(gè )没有(🙁)船的(de )渔夫(fū )，因(yīn )为史(🤯)蒂文开始(shǐ )用(yòng )它(⏺)来(🚢)为一(📎)整天的游客(kè )提供更赚钱的旅游。他们(men )卖掉了这座(zuò )家庭别墅，现在看来，最后一(yī )场战斗是(shì )和新主人在(🈴)海边的停(tíng )车(chē )(👃)位上展(🚻)开。然(⛳)而，情况很快就失(🥕)控了，而不(🧣)仅(jǐn )仅是因(yīn )为(wéi )车轮夹钳。 Bait是一(yī )种黑白，手(shǒu )工制(🏻)作，16毫米胶片(🃏)制作的(de )电(🚶)影。许多(duō )关于(yú )鱼、网(wǎng )、龙虾(xiā )、长(📧)靴、绳结(⏲)和(📛)渔(yú )篮的(de )特写镜(🔷)头让人想起了蒙太奇景(🚲)点的理(lǐ )(🌂)论。对(👄)不同社会(🔫)阶(💣)层的描述(shù )——可(🚽)以说(shuō )是阶(👛)级关系—(🎦)—也(yě )让人(🔪)想起(👚)了英国电影(yǐng )中(🤼)的社会现(🕺)实(shí )主义传统(🚩)。然(⛴)而(🏸)，最重(chóng )要的是，在影像中不同(🌲)层次的(de )(🚪)电影(yǐng )历史参考文献(xiàn )之下，当前许多(duō )政治关(guān )联(lián )正在等待被发现。 (🏆) 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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