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康沃(🕕)尔渔村(👷)的(de )风景(jǐng )明信片(piàn )田园诗误导(dǎo )了(🔼)人们。虽然过去钓鱼是一种养家糊口的方式，但如今(jīn )富有的伦(lún )敦(dūn )游客(🎾)纷纷下(👋)山(shān )，取代(dài )了当(🏇)地人，当地(dì )人的生计因此(🎩)受到威胁(xié )(🎡)。史(shǐ )蒂文和马(✳)丁兄弟(🛹)的关系也很紧张(zhāng )。马丁是一(😚)个没(✖)有(yǒu )(🙁)船(😻)的渔(yú )夫，因为史蒂(😱)文(🐖)开始用它来为一整(🧚)天的游(🥁)客提供更(gèng )(🛑)赚(⏯)钱的旅(🔢)游。他们卖掉(diào )了这座(🥔)家庭别(bié )墅，现在看(kàn )来，最后一场战斗是(shì )和(hé )新主(zhǔ )人在(zài )海边(⛏)的停车位上展开(🤲)。然而，情况很快(🤳)就失(shī )控了，而不仅仅是因为车轮夹钳。 Bait是一种黑白，手工制作(🐛)，16毫米胶片制作(💅)的电影(yǐng )(💹)。许多(💯)关(guān )(😝)于鱼、网、(🎥)龙虾、长(zhǎng )靴、(😙)绳(🤥)结(⏲)和(📛)渔篮(lán )的特写镜头(👵)让人想起了蒙太奇景(jǐng )点(diǎn )的理(🌂)论。对不同社会阶层的描述——可以说是阶(jiē )级关系——也让人(rén )(🔪)想(xiǎng )起了英(⏺)国电(🧘)影中的社(📬)会(✖)现实主(zhǔ )义传统(🚩)。然而，最(zuì )重(chóng )要(⏺)的是(🔮)，在影(🐈)像(xiàng )中(zhōng )不(bú )同层次的电影历(lì )史(💛)参(cān )考文献之下，当前许多政治(zhì )关(guān )联正在(zài )等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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