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康沃(🕕)尔渔村(cūn )(👷)的风(fēng )(🆓)景明信片田园(📒)诗(🏽)误导了人们。虽然过去(qù )钓(diào )鱼是一种养家糊口的(de )方式，但如今(🔬)富有的伦敦(💤)游(yóu )客(🎾)纷(📿)纷下山，取(qǔ )代了当(dāng )地人，当(🚤)地人(⚫)的生(🕔)计因此受到威胁。史蒂文和(hé )马丁兄(🥄)弟的(de )关(guān )系(🚥)也很紧张。马丁是(shì )一个没有(🙁)船(chuán )的渔(🖍)夫，因为(wéi )史蒂文开始用它来(lái )为一整天(🚣)的游客提供(gòng )更赚钱(qián )(😞)的旅(lǚ )(🔢)游。他们(🌑)卖掉了(le )这座家庭别(bié )墅，现在看(kàn )来，最(🤸)后(hòu )一(yī )场战斗是和新主(zhǔ )人在海边(biān )的停车位上展(🚻)开。然(rán )而，情况很快就(jiù )失控了，而(🚴)不仅仅(⚾)是因(yīn )为车轮(🤘)夹钳。 Bait是一(💍)种(zhǒng )黑白，手(shǒu )工制作，16毫米胶片制作(💅)的电影。许多(💯)关(guān )于鱼(🏒)、网、龙虾、长靴、绳结和渔(🔤)篮(lán )的特写镜头让人想起了(🍽)蒙太(tài )奇景点(📐)的(de )理(🌂)论(lùn )。对(duì )不同社会阶层的描(miáo )述——可(🚽)以(🎐)说是(shì )阶(👛)级(🕕)关系——(📤)也(yě )让人想(🐂)起(qǐ )了英国(guó )电(🧘)影中的(de )社会现(xiàn )实主(🎴)义传统。然而(🏸)，最(zuì )重(🈺)要的是(🔮)，在影像中(🍯)不(🔍)同(🌲)层次(cì )的电影历史(💛)参考(😲)文献之(zhī )下(xià )，当前许(xǔ )多政治关联正(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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