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康沃(🕕)尔渔村的风景(jǐng )(⛲)明(míng )信片(piàn )(🥇)田(📼)园(yuán )诗误导了(le )(🔼)人们。虽然过去钓鱼(🕰)是一(yī )(🤴)种养(🎺)家糊口(🎹)的方式，但如(🍖)今(🔬)富有的伦敦游客(🎾)纷纷下山，取代了当地人，当地人的生(🕔)计因此受到威胁。史蒂(👁)文和马丁(dīng )兄(🥄)弟(🛹)的(de )关(guān )系也很紧张。马丁是一个(🍮)没有(yǒu )船的渔(🖍)夫(🚑)，因为史蒂文开(kāi )始用它来(🚢)为(wéi )一(yī )整天(tiān )的游客提供更(gèng )赚钱的旅(🔢)游。他们(men )卖掉了(le )这(🥎)座(zuò )家庭(tíng )别墅，现在看(kàn )来(🙌)，最(🤸)后(hòu )一(🙄)场战(zhàn )斗是和新主(zhǔ )人在海边(⛏)的(🥫)停(🤷)车位上(🔔)展开。然而，情况很快就失控了，而不仅仅是(shì )因(yīn )为(wéi )车轮夹钳。 (💹) Bait是一(yī )种黑白，手工(➡)制作(zuò )，16毫米胶片制(zhì )作的(de )(🌼)电影。许多关于鱼、网(💿)、龙虾、长靴、绳(🤥)结和渔篮(👌)的(de )特写镜头让人想(🥅)起了蒙太奇(🏴)景点(📐)的理论。对(duì )(👄)不同(tóng )社会(huì )阶层(céng )的描(🌸)述(shù )——可(🚽)以说是阶级关系——(📤)也让人想起了英国电影中的社会(huì )现实主义传统。然(⛴)而，最重要的是(shì )，在(🈳)影像(xiàng )中不(bú )同层次(cì )(🈂)的电影历史参(cān )考文献之下，当前许多政(zhèng )(🍾)治关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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