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康沃尔渔村的风景明(míng )信(🐌)片田(🔼)园诗误导了人们。虽(🕰)然过去钓鱼是一种(🆖)养(yǎng )家糊(🛤)口的方式，但如(rú )(🥩)今(jīn )富有的伦敦游(yóu )客纷纷下山，取代了当地人(rén )(🐿)，当地人(rén )的生(🗄)计因此(cǐ )受到(dào )威胁。史(🔲)蒂文(🛹)和(hé )马丁兄(xiōng )弟的关系(🎿)也(🎫)很紧张。马丁是一个没有船的渔(🤯)夫，因为史(shǐ )(💞)蒂文开始用(🧚)它(tā )来为一整天的游客(kè )提供(gòng )更赚钱(qián )的旅游。他们(🥔)卖掉了(le )这座家(✋)庭别(bié )(🏂)墅，现在看来，最后一场战斗是(🈴)和(hé )新主人在海边(biān )(🔔)的停车(🕙)位上(shàng )展开。然而(ér )(🤳)，情况很快就失控了(⚾)，而(ér )不仅仅是(🈁)因(❕)为车轮夹钳(qián )。
Bait是一(yī )种黑(hēi )(👪)白，手工(gōng )制(💅)作，16毫(🐩)米胶片(🔈)制作的电(diàn )(🎥)影。许多关于(yú )(😙)鱼、网、龙虾、长(🥤)靴、绳结和渔篮的特(🔞)写(xiě )镜头(📐)让人想起(🌱)了(👄)蒙(méng )太奇景点(diǎn )(💣)的理论。对不同社会阶层的描述(👗)——可以说是(🐂)阶级关系——也让(ràng )(❓)人想起了(le )英(🎴)国(guó )电影(yǐng )中的社(shè )(🏸)会(❄)现(xiàn )实(shí )主义传统。然(rán )而，最重(chóng )要的是(shì )，在(zài )影像中(👼)不同层次(cì )的电(💨)影(yǐng )历史参考文献之下，当(dāng )前(👆)许多政(🍉)治关(guān )联正在等待(⛎)被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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