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康沃(🕕)尔渔村(👷)的风(fēng )景明信(xìn )片田(📼)园诗误(wù )导了人们。虽然过去(qù )钓鱼(🕰)是一(yī )(🤴)种(🍥)养(yǎng )家糊口(🎹)的(de )方(🥈)式(🐉)，但如(rú )今(🔬)富有的伦(lún )敦(dūn )游客纷(fēn )纷下山，取代了当(🏇)地人，当地人(⚫)的生计因(yīn )此受到威胁。史蒂文(wén )和马丁兄(xiōng )弟(dì )的关系也很(hěn )紧(jǐn )张。马(mǎ )丁是一(😚)个没有船的渔夫，因为史蒂文(🐖)开始用它来为一整天(🚣)的(de )游客提供(gòng )更赚钱的(de )旅游。他(🦗)们卖掉(🌊)了(le )这座家(jiā )庭(tíng )别(bié )墅，现在(zài )(🐑)看来(🙌)，最(🤸)后一(yī )场战斗是和新主人在(zài )海边(biān )(⛏)的停车(chē )位上展开。然而，情况很快(kuài )就失控(🕐)了，而(ér )(🚴)不仅(jǐn )仅(⚾)是因为车轮夹钳。 Bait是一(💍)种黑白，手工制(🏻)作(zuò )，16毫(👪)米胶片(piàn )制作的电影(yǐng )。许多(💯)关于(yú )鱼(🏒)、网、(🎥)龙虾(xiā )、长靴、绳结和渔(yú )篮(👌)的特写镜头让(♌)人想起了蒙(🏃)太奇景点的理论。对不同社会阶层(céng )的描(🌸)述—(⏳)—可以(yǐ )说是(shì )(🔲)阶级关(😳)系——也让人想起了英(yīng )国电影中的(de )(❓)社(📬)会现实主义(😉)传统。然而，最重要的(de )(🧥)是(shì )，在影像中不(bú )同(🌲)层(💕)次的(🚪)电(🐌)影(yǐng )(🐱)历史参考文(🐅)献之下，当前许多政治关联正(📯)在等待被发现(xiàn )(🍉)。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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