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，但现在富有的伦敦游客纷纷下山，庖代了本地人，本地人的生计是以遭到威逼。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，由于史蒂文起头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泊车位上睁开。然而，环境很快就失控了，而不单单是由于车轮夹钳。 Bait是一种黑白，手工建造，16毫米胶片建造的电影。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。对差别社会阶层的描述——能够说是阶级关系——也让人想起了英国电影中的社会现实主义古代。然而，最重要的是，在影象中差别条理的电影汗青参考文献之下，当前许多政治联系关系正在等待被发明。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
