康(🌠)沃尔渔村(cūn )的(de )(✒)风景明信片田园诗(🔼)误(wù )导了人们。虽然过(guò )去钓鱼是一(🔧)种养家(jiā )糊口的(de )方(fāng )(🌰)式(shì )，但如今富有的(😧)伦(lún )敦(dūn )游客(kè )纷(fēn )纷下(xià )山(❣)，取代了当地人，当(🐿)地(dì )人的(de )(👑)生(shēng )(🎩)计因(yīn )此受到威胁。史蒂文(wén )和(hé )马(🛹)丁兄弟的关系也很(🎿)紧张。马丁是一(yī )个没(🚸)有(yǒu )船的渔夫，因(😱)为史蒂文开始(🚢)用它来为一整(🥁)天(tiān )的(de )游(🚨)客提供更赚(🔢)钱的旅游(yóu )。他们(men )卖掉了这座家庭别墅，现在看来，最后一场(🙉)战(zhàn )斗(⛓)是和新主人在海边的停车位上展开。然而(⛳)，情况很(hěn )快就(🐀)失控(kòng )了，而不仅仅(jǐn )是(shì )因为车轮夹钳。Bait是一种(zhǒng )黑白，手工制作，16毫(🥋)米(🤷)胶片制作的电影。许多(😝)关(🔈)于鱼、(💿)网(🎥)、龙虾(xiā )(🤔)、长(zhǎng )靴、绳结(📛)和渔篮(lán )的(📸)特(🥤)写镜(jìng )头让人(🥅)想起了(le )蒙(méng )太奇景点的理(🔙)论。对(duì )不同(🖍)社会(huì )阶层的描述——可(kě )以说是阶(jiē )级关(guān )系——也让(🔪)人想(👚)起了(le )英国电影中(❓)的社(shè )会现实主义传统(🍹)。然而，最重要的是(👅)，在影(🔬)像中不同层(céng )次的电(🐱)影历史(shǐ )参考文献之(zhī )下(💨)，当前(🛃)许(xǔ )多政治关联(📯)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.