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康沃尔渔村(cūn )(⛲)的风景(jǐng )明(📼)信片田(tián )园诗误导(🃏)了人(rén )们。虽然过去钓鱼是一(yī )种养(yǎng )家(jiā )糊口的方(fāng )式(shì )(🍖)，但如今(jīn )富(🥩)有的(de )伦(🎾)敦游客纷纷下山，取代(dài )了当地人，当地人的生计因此(cǐ )(🛍)受(shòu )到威(wēi )胁。史(shǐ )蒂文和马丁(🚉)兄弟的关系也(📞)很紧张(zhāng )(🥞)。马丁是一(yī )(🙁)个没有船的渔夫(🕕)，因(yīn )为史蒂文开(kāi )(⏺)始用它来(lái )为一(🔩)整天(tiān )的游客(🛑)提(tí )供更(🖲)赚(🔢)钱(❔)的旅游。他们卖(mài )掉了这(🗞)座(zuò )家庭别墅(shù )(🐑)，现在看(🤸)来，最后(hòu )一场战(zhàn )斗是和新主人(rén )(⛏)在海边的停(🔔)车位上展(zhǎn )开(kāi )。然而，情况很快就失控了，而不仅(🌮)仅是(🗳)因为(wéi )车轮(💝)夹钳。Bait是一种黑白，手工制作，16毫(háo )米(🤷)胶片制作的电影(yǐng )。许多关于鱼、网、龙虾、(📧)长(zhǎng )靴、绳(shéng )结和渔(👌)篮的特写镜头让(💸)人想(🐞)起(🍽)了蒙太奇(🚲)景点(diǎn )(🔎)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(rén )想(👚)起(qǐ )了英国电影中的社会现(xiàn )实主义传(🚩)统。然而，最重要的是，在影像中不(🌲)同(tóng )层次的电影历史参考文献之下(xià )，当(🙅)前(qián )许多政(🕵)治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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