康(kāng )(🈯)沃(🕕)尔渔村的风景明信(xìn )片田园诗误导了(🔼)人们(🃏)。虽(😘)然过去(qù )钓鱼是一种养家糊(🎗)口(kǒu )的方式,但如今富有的伦敦游客纷纷下山(⏬),取代了(le )当(dāng )地(♑)人(rén ),当地人的生计因此受到威胁。史(shǐ )蒂文(🙍)和马(mǎ )丁兄弟的关系也很紧张。马(mǎ )丁是一(yī )个没(✖)有船的渔夫,因(yīn )为史(shǐ )(🤯)蒂文开始用它来为(wéi )(🌙)一(📎)整天的游(🥁)客提(📯)供(gòng )更赚(⏯)钱(😞)的旅游。他们卖掉了这座(zuò )家(💻)庭别(bié )墅,现(xiàn )在(zài )看来(lái ),最后(🌞)一场战斗是和新主人在(zài )海边的停车(chē )位上(shàng )展开。然(rán )(⛳)而,情况很快就失控了(🐀),而(ér )不(bú )(🧣)仅仅是因为(wéi )车(chē )轮(🤘)夹钳(qián )。 (💹) Bait是一(yī )(💍)种黑白(bái )(🦇),手工制(zhì )作,16毫米(🥋)胶片制作的(🌼)电(🚶)影(yǐng )。许多关于鱼(🏒)、网、龙虾、长靴、绳结和渔篮的(💏)特写镜(🔷)头让(♌)人(rén )想(xiǎng )起了(le )蒙太奇景点(📐)的理(lǐ )论(🔙)。对不同社会阶层(🔥)的(de )描述——可以说是阶级关(😳)系——也让人想起(👚)了英国(guó )电影(💅)中的社(shè )(📬)会现实(shí )主义(yì )传(🚤)统(🚩)。然而,最重要的是,在影像中不同(🌲)层次的电影历史(shǐ )参(👼)考文献(⛅)之下,当前许(xǔ )多(duō )政治关(🎞)联正(📯)在等待被发(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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