康沃尔渔村(👷)的风(🆓)景(jǐng )明信片田园(yuán )(📒)诗误导了(🔼)人们(🃏)。虽(😘)然(🕟)过去钓(🔱)鱼(yú )是一种养家糊口的方(🥈)式(shì )，但如今(jīn )富(fù )有的伦敦游(😧)客纷纷下山，取代了当地(♑)人，当(dāng )地人的(🐿)生(shēng )计(jì )因此受到威胁。史蒂(dì )文和马丁兄弟(dì )的关系也(yě )很紧张。马(mǎ )丁是(shì )一(yī )个没有船的渔夫(fū )，因(yīn )为史(shǐ )蒂文开始(shǐ )用(yòng )它来(lái )为一(yī )整天的游客提供更(gèng )赚钱(😞)的旅(🔢)游。他们(men )卖(mài )掉了这座家庭别墅，现(xiàn )在看来，最后一(🙄)场战斗(dòu )是(shì )和新主人在(🈴)海边的停车位上展开。然(rán )而(😍)，情况(kuàng )很快就(jiù )(🎋)失(shī )控了，而不仅(jǐn )仅是因(🌮)为车(chē )轮(lún )夹钳。 Bait是一(yī )种黑白，手工(gōng )制作，16毫米胶片制(🌪)作的(🌼)电(diàn )影。许(xǔ )多(💯)关于鱼、网、龙(lóng )虾(xiā )、长靴(xuē )、绳结和(hé )渔篮的特写镜头(👵)让人想(🥅)起了蒙太(tài )奇景点的(de )理论。对不同社(shè )会(huì )阶(jiē )层的描述——可(kě )以说(🍁)是(shì )阶级(jí )关系(xì )(👗)——(📤)也(yě )让人想起了英国(guó )电影中的社会现(🕺)实主义传(chuán )统(tǒng )。然而，最重(chóng )要的(de )是，在(🈳)影像中不同(tóng )(🌲)层次(cì )(🈂)的电影历史参(cān )考文献之(zhī )下，当前许多(duō )政治关联正在等(děng )待被发(fā )(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
