康沃尔渔村的景色明信片田园诗误导了人们。尽管曩昔钓鱼是一种养家糊口的办法，但如今富裕的伦敦旅客纷繁下山，替代了当地人，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，康沃尔渔村的景色明信片田园诗误导了人们。尽管曩昔钓鱼是一种养家糊口的办法，但如今富裕的伦敦旅客纷繁下山，替代了当地人，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，由于史蒂文最先用它来为一成天的旅客供给更赚人民币的游览。他们卖掉了这座家庭别墅，如今看来，最后一场战役是和新主人在海边的泊车位上展开。但是，环境很快就失控了，而不只仅是由于车轮夹钳。 Bait是一种诟谇，手工建造，16毫米胶片建造的片子。好多对于鱼、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实践。对分歧社会阶层的描绘——可以说是阶层关系——也让人想起了英国片子中的社会实际主义传统。但是，最紧张的是，在影像平分歧层次的片子历史参考文献之下，当前好多政治联系正在守候被觉察。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.详情
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