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康沃尔渔村的(de )风(🆓)景明信(🐽)片(🥇)田园(yuán )诗误(wù )导了人们(men )。虽然过去钓鱼(yú )是一种(zhǒng )养家糊口的方式，但如今富有的(de )伦敦(💤)游(😧)客(kè )纷纷下山，取代了当(🏇)地人，当地人的(🐿)生(shēng )计(🔸)因此受到威胁。史蒂文和马丁兄弟的关系(xì )(🚥)也很紧张(zhāng )(📞)。马(🎫)丁是一(yī )个(gè )没有船(😻)的渔(yú )夫，因为史(shǐ )蒂(😱)文开始用它(⏺)来为(🌙)一(yī )(📎)整(zhěng )(🧚)天的游客(kè )提供更赚钱的旅(🔢)游(yóu )。他们卖(mài )掉(🌊)了(㊗)这座家庭别墅(📙)，现在看来，最后一场战斗是(shì )和新主人在(zài )(🈴)海边的停车(chē )位(wèi )(🧤)上展(🚻)开(kāi )。然(⛳)而，情况(kuàng )很快就失控了，而不仅仅是因为车轮(lún )(🤘)夹(🈁)钳。 Bait是一种黑白，手工(➡)制作，16毫米胶片(🃏)制作的电影(yǐng )。许多关(😝)于(yú )鱼、网(wǎng )、龙虾、长靴、绳结和(hé )渔(🔤)篮(👌)的特写镜(🔷)头让人(rén )想起(🐞)了蒙太奇(qí )景(jǐng )点的理论。对不同社(🖍)会阶(jiē )(💣)层(🔥)的(🚡)描述——可以说是(shì )阶级关系(👗)——(📤)也(yě )让人(rén )(🔪)想起(👚)了英国(guó )电(🧘)影(yǐng )中(🤼)的(de )社会(✖)现实(shí )(💑)主义传(chuán )统。然而，最(zuì )(💁)重要的(de )是(shì )，在(🈳)影像中不同层次的电影历(lì )史参考文献之下，当(🈸)前(qián )许多政治(zhì )关联(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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