内容简介
康沃(🛢)尔渔村的风景明信片田园诗误导了人们(⚽)。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，取代了当地人，当地人的生(🍨)计因此受到威胁(🏹)。史(💼)蒂文和马丁兄弟(🕴)的关系也很紧(👒)张。马(🙇)丁是一个没有船的渔夫，因为史蒂文开始用它来为一整(⤵)天的游客提供更赚钱的旅游(📴)。他们卖掉了(👚)这座(😶)家庭(🌬)别墅，现(🤕)在看来，最后一场战斗(🔪)是和(🚥)新主人(🐔)在(🔣)海边的停(✂)车位上展开。然而，情况很快就失控了，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。许多关于鱼、网(🐏)、龙虾、长靴、绳结和渔篮的特写镜头(🐉)让人想起了蒙太奇景点的理论(🎀)。对不(🎸)同(🍈)社会阶层(🙏)的描述—(📨)—可以(🏣)说是阶级关系(🏴)—(🏍)—也让人想起了英(😡)国(📹)电影中的社会现实(😜)主义(🧜)传统。然而，最重要的是，在影(🔇)像中不同层次的电(🌧)影历(📧)史参考文献之下，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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.