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康(🈯)沃尔渔(yú )村的风(fēng )景明信片田园诗误(wù )导了人们。虽然过(🕸)去钓鱼是一种养(yǎng )家糊(hú )口的方式，但如(🍖)今(🔬)富(fù )有(🗼)的伦敦游(yóu )客(kè )纷(fēn )纷下山，取(qǔ )代了(🌗)当地人(📼)，当地(dì )(🖲)人的生计(🔸)因此(cǐ )(🎩)受(🤷)到威胁。史蒂文和(hé )马丁(🔲)兄(xiōng )弟的(🚉)关(🏐)系也(yě )很紧(jǐn )张。马丁是一个没有船的渔(🖍)夫(🚑)，因为史(shǐ )蒂文开始用它(⏺)来为一(📎)整天的游(🥁)客提供更赚(zuàn )钱的(🖲)旅游。他(🦗)们(men )卖掉了(le )(㊗)这座家庭别墅，现在(zài )看来，最后一场战斗是和(hé )新主人在海边的停车位上展开。然而(ér )，情况很快就(🎋)失控了，而(ér )不仅(jǐn )仅(jǐn )是因为车轮夹钳。 Bait是一种黑白，手工(➡)制(zhì )作，16毫米(🥋)胶片制(zhì )作的(🌼)电(diàn )影。许(xǔ )多关于(🔈)鱼、网、龙虾(xiā )、长(zhǎng )靴、绳(🤥)结(⏲)和渔篮(lán )(👌)的特(tè )写(🥤)镜头让人(💸)想起了(🍽)蒙太奇景点的理论。对不(🐖)同社(shè )会阶层的(🚡)描述(shù )(📞)——可以说是阶级关(guān )系——也让人想起(qǐ )了英(⏺)国电(diàn )影中的社(📬)会(huì )现(🕺)实(💑)主义传(chuán )统。然而，最重要的是(shì )，在影(🐈)像(xiàng )(🔬)中不同层次(cì )的电(🐌)影历史参(cān )(👼)考文献(⛅)之(zhī )下，当前(🙅)许多(duō )政治(zhì )(🕵)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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