康(kāng )沃尔(ěr )渔村(⛲)的风景明信片田园诗(🔼)误(wù )导了人们(men )。虽然过(🕰)去钓(diào )鱼是一种(zhǒng )养家糊口的方式，但如今富有(💤)的(😧)伦(🎾)敦游客纷(fēn )纷下山(shān )，取(🏇)代了(le )当地(dì )(🚤)人，当地人的生计因此受(shòu )到威胁。史蒂文和马丁(dīng )兄弟的关(guān )系也很(🎿)紧(jǐn )张。马丁(🍮)是(shì )一个(😻)没有船的(🐶)渔夫(🕕)，因为史蒂文开始用它来为一整(🥁)天(🌚)的游(yóu )客提供更(gèng )赚钱的(💱)旅游。他(tā )们卖掉了这座家庭别墅，现在(zài )(🤠)看来，最后一场战斗是(🎾)和(hé )新(xīn )主人在海边(biān )的停(tíng )(🔔)车(🚻)位上(🕙)展开(kāi )。然而，情况(kuàng )很快就(🐀)失控(🚴)了，而(⚾)不仅(jǐn )仅是因(🤘)为车(chē )轮(💝)夹钳。Bait是一种黑(hēi )(🦇)白，手工制作，16毫米胶(jiāo )片(piàn )制(zhì )作的电影(yǐng )。许(xǔ )多关(guān )(🔈)于鱼(🙎)、网、龙(🈺)虾、(📧)长(zhǎng )靴(😙)、绳结(jié )和渔篮的特写(xiě )镜(👵)头让(💸)人想起了蒙太奇景点的(🌂)理(🔙)论。对不同社会阶层的描述——可以说是(👛)阶级关系(🎦)—(📤)—也让人想起了英国电影中的(📬)社会(huì )现实(🎴)主义传统。然而，最(zuì )重要的是(shì )，在影像中不(bú )同层次(cì )(🚪)的(de )电(🐱)影历(lì )史参(😲)考文献(🏡)之下，当前许多政(🕵)治关联正在等(děng )(👆)待(🔍)被发现。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.