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康沃尔(ěr )渔村(👷)的风(🆓)景明(míng )信片田园诗误导了人们。虽然(🕟)过去钓(🔱)鱼是一(yī )种养家(jiā )糊口(🎹)的方式(🐉)，但如今(jīn )富(🏴)有的伦(🥩)敦(dūn )游客(kè )纷纷下山，取代了当(🏇)地(♑)人，当地(🖲)人的生计因(yīn )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(gè )没(méi )有船(chuán )的(🚸)渔夫(fū )，因为史(shǐ )蒂文开(kāi )始用它来为一(📎)整天的游客提供(gòng )更赚(zuàn )(⏯)钱(😞)的旅游。他(tā )们卖掉了(㊗)这座家庭(tíng )别墅(shù )，现(✋)在看(kàn )(🏂)来，最后一场战(👓)斗是和新主人在海边的停(tíng )(🤷)车位上展开。然而，情况很(hěn )快就失控了，而不仅仅是因(🌮)为车轮夹钳(❕)。 Bait是一种(zhǒng )黑白，手工(gōng )制作(zuò )，16毫米(mǐ )胶(jiāo )片(piàn )制(zhì )作的电影。许多关于鱼(🏒)、网、龙虾(🈺)、长靴、绳结和渔(🔤)篮(👌)的特(📸)写(xiě )镜(🔷)头(tóu )(👵)让人想起(qǐ )了(🍽)蒙(méng )太(tài )奇(qí )景(jǐng )(🚲)点的理论。对(👄)不同社会(huì )(🔫)阶层的描述——可(kě )以(yǐ )(🎐)说是阶级(🕕)关(guān )(😳)系(xì )——也让人(🔪)想(🐂)起了(le )英(⏺)国电影(yǐng )中的社(📬)会现(🕺)实主(🎴)义传(🚤)统。然而(🏸)，最重(🈺)要的是，在影像中不同层次的电影历(lì )史(shǐ )参(👼)考(kǎo )文献之下，当前许多(duō )政治关联正在(zài )等待被发(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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