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康沃尔渔村的(🔨)风景明信片(piàn )田园诗误导了人们。虽然过(🕸)去钓鱼是一种(🍥)养(🎺)家(🔧)糊口的方式，但(🌰)如今富(🏴)有(🗼)的伦敦游客纷纷下山(⏬)，取(qǔ )代了当地人，当地(🖲)人(rén )的生计(🔸)因此受到威胁。史(🕯)蒂文(🙍)和(hé )(💆)马(✳)丁兄弟的关系也很紧(jǐn )张(📞)。马(mǎ )丁是一个没有(🙁)船的渔夫，因(yīn )为史蒂文(🐖)开(kāi )(🤷)始(shǐ )用它(tā )来为一整(zhěng )天的(🔩)游(yóu )客(🌚)提供更(gèng )赚(⏯)钱的旅(🔢)游。他们卖掉了这座(🥔)家(💻)庭别(🙂)墅，现在看来，最(zuì )后一场战斗是和新主人在海(hǎi )边(biān )(⛏)的(🥫)停车位上展(zhǎn )开。然(rán )而，情况(kuàng )很快(🤳)就(🎋)失(shī )(🥕)控了，而不仅仅(⚾)是因为(wéi )车轮夹钳。 (💔)Bait是(shì )一种(zhǒng )黑白(🦇)，手工(gōng )制作(zuò )，16毫米胶(🤷)片(piàn )制作的电(diàn )影(💹)。许多关于(yú )鱼(🏒)、网、龙虾、长(📧)靴、绳(🤥)结和渔篮的特写镜(🔷)头(tóu )(👵)让(ràng )人想起了蒙太奇景(jǐng )点的理论(lùn )。对(duì )不同(tóng )(🆙)社(shè )会阶层的描(miáo )述(📞)——可以(yǐ )说(shuō )是阶(👛)级(jí )关(guān )系——也让(ràng )人想起(qǐ )了(le )英国电(diàn )影中的社会现实主义传(🚤)统(tǒng )。然而，最重要的是，在影像中不同层次的(🚪)电影历史(shǐ )(💛)参考文献之下，当前许多政治(🕵)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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