康(kāng )沃(👷)尔渔(🆓)村(cūn )的风景明信片(piàn )(🏽)田(tián )园诗误导(🃏)了人们。虽(suī )(🛍)然过去钓鱼是一种养家(jiā )糊(🥈)口(kǒu )的方式，但如(🗼)今富(🥩)有(💤)的伦(lún )敦游(yóu )客纷纷下(xià )山，取代了当(😎)地(🚤)人(rén )，当(dāng )地人的生计因(🗄)此受到威胁。史蒂(dì )文(🔲)和马丁兄弟的关系也(📞)很紧张。马丁是一个没有船的(🐶)渔夫，因(yīn )为史蒂文开始用(yòng )它(tā )来(lái )为一(🔩)整(🥁)天的游客提供更赚(zuàn )钱的(💱)旅游。他(tā )(🌊)们(men )卖掉了这座(🙂)家庭别墅，现(🙌)在(zài )(🤠)看来(lái )，最(zuì )后一场(chǎng )战(💪)斗(dòu )是和新主人在海边的(🧤)停车(🚻)位上(shàng )展开(kāi )。然而(ér )(⛳)，情(🤳)况很快就失控了，而不仅仅(👣)是因(yīn )为(wéi )车(❕)轮(lún )夹钳。Bait是一(🚗)种(🐾)黑白(bái )，手工制作(🌹)，16毫米胶片制作的电影。许(xǔ )多关于鱼、网、龙虾、长(zhǎng )靴、绳结(jié )和渔篮(lán )的特写镜头让(ràng )(💸)人想起(qǐ )了蒙(🔞)太奇景点(🔎)的理论。对不同社(🔫)会阶层的描(📞)述——可以(yǐ )说是阶(🕕)级关系——也让人想起了英(yīng )国(🧘)电(diàn )影中的社会现(xiàn )实主义传统。然(rán )而(ér )，最重要的是，在影像中(zhōng )不同层次的电影历史参考(🐅)文献之(✒)下(💨)，当(dāng )(🙅)前许多政(🕵)治(zhì )关联正(🐇)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
……