剧情简介
康沃尔渔村(👷)的风景明信(🐽)片田园诗(shī )误导了(🔼)人们。虽然过去钓鱼是一种养家糊口的方式(shì )，但如今(jīn )富有的伦敦游(😧)客纷(fēn )纷下山，取代了(🌗)当地人，当地(🖲)人(rén )的(🐿)生计(jì )因(👑)此受到威胁。史蒂文(🙍)和马(✳)丁(🔲)兄弟的关系也(🐖)很紧(jǐn )(🛺)张。马丁是(🗑)一(😚)个没(✖)有船的(de )渔(yú )夫，因为史蒂文开始(🔊)用它来为一整(zhěng )天的游客(kè )提(📯)供更赚钱(😞)的旅游。他们卖掉(🌊)了(㊗)这座(zuò )家庭别墅(📙)，现在看(🏂)来，最后一场战斗(dòu )是和(💪)新主人在(zài )海边(biān )(⛏)的停(tíng )车位上展(🚻)开(🤲)。然(rán )而，情况(⛳)很快(🤳)就(🎋)失控了，而(ér )(🚴)不(bú )仅(jǐn )仅(⚾)是因为车轮夹钳。 (💔)Bait是一种黑白，手工制(🏻)作，16毫米胶(jiāo )片(piàn )制作的电影(yǐng )。许多关于(🔈)鱼(yú )、网、龙虾、长(zhǎng )(📧)靴、绳结(jié )和渔(🔤)篮的特写镜头让人想起(qǐ )了蒙太奇(qí )景点的(de )理论(lùn )。对不(bú )(🐖)同(tóng )社(🖍)会阶层的描述——可(kě )以说是(shì )阶(jiē )级关系—(🎦)—(📤)也让人想起了英国电影(yǐng )中的社会现实(shí )主义传统(🚩)。然而(ér )，最重(🈺)要的是，在(zài )影像(xiàng )中不同层次(🈂)的电(diàn )影历史(💛)参考文(wén )献之下(✒)，当前许(🛃)多(duō )政治关(guān )联正(📯)在等(♊)待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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