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康沃(wò )尔渔(🌠)村(👷)的(🔨)风景(jǐng )(⛲)明信片(🥇)田园诗误导了人们(🃏)。虽然过去(qù )(🛍)钓鱼(yú )(🕰)是一(yī )种养家(🔧)糊口的方式，但如今富有(🗼)的伦敦游客纷纷下(👋)山(⏬)，取(qǔ )代(dài )(❣)了当(🏇)地人，当地人的生计因此受(🤷)到威(🛍)胁。史蒂(dì )文(🙍)和马(mǎ )丁兄弟的(de )关系也很紧张(📞)。马丁是(shì )一个没(✖)有船(chuán )的(de )渔夫，因(🥀)为史蒂(dì )文(🐖)开(🤷)始(🔊)用它来为(wéi )一整天的游客提供更(🛑)赚钱的旅游。他们(🌑)卖(mài )掉了这(🥎)座家庭别(bié )墅，现(✋)在看来，最后一场战斗(🙀)是和(💪)新(xīn )主(zhǔ )人在海边的停(tíng )车位上展开。然而，情况(kuàng )很快就失控了，而不仅(jǐn )仅(⚾)是因为(wéi )车轮夹钳。 Bait是一种(zhǒng )黑(hēi )白，手工(gōng )制作，16毫米胶片制作的电影。许(xǔ )多关于鱼、网、龙虾(xiā )、长靴、绳(shéng )结和渔(🔤)篮(lán )的(de )特写(🥤)镜头让人(💸)想起(🐞)了蒙太奇景点的理论。对不同(tóng )社会阶层的(de )(🚡)描述—(⏳)—可(🚽)以说是阶级关系——也让人(rén )想(🐂)起了(🛃)英国电影中的社(shè )会现(🕺)实(💑)主义(😉)传统。然而，最重要的是(shì )，在影像中不同层(céng )次的电(diàn )影历史参考文(🐅)献(xiàn )之(zhī )(🏡)下，当前(qián )许(xǔ )多政(🍾)治(🕵)关(🎞)联正在等(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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