康沃尔渔村的风亮光信片田园诗误导了人们当然过往垂钓是一种养家糊口的编制，但此刻富有的伦敦搭客纷繁下山，庖代了本地人，本地人的生计是以遭到要挟。史蒂文和马丁兄弟的康沃尔渔村的风亮光信片田园诗误导了人们当然过往垂钓是一种养家糊口的编制，但此刻富有的伦敦搭客纷繁下山，庖代了本地人，本地人的生计是以遭到要挟。史蒂文和马丁兄弟的关系也很严重。马丁是一个没有船的渔夫，由于史蒂文末尾用它来为一成天的搭客供应更赚钱的旅游。他们卖掉踪了这座家庭别墅，此刻看来，最后一场战争是和新主人在海边的泊车位上展开。但是，现象很快就掉踪控了，而不但仅是由于车轮夹钳。 Bait是一种吵嘴，手工建造，16毫米胶片建造的片子。很关于鱼、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实际。对不合社会阶级的描画——可以说是阶级关系——也让人想起了英国片子中的社会实践主义传统。但是，最首要的是，在影象平不合层次的片子汗青参考文献之下，以后很政治关联正在等候被现。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.详情
