剧情简介
康沃尔渔村(👷)的(🔨)风景(⛲)明(✒)信片田园诗误导(dǎo )(🍩)了人(rén )们。虽然过(🕸)去(qù )钓(diào )鱼(🕰)是一种养家糊(🎗)口(kǒu )的方(🥈)式，但如(🍖)今富(fù )有的伦敦游客纷(📿)纷下山，取代了当(🏇)地人(📼)，当地人的生计因此(🎩)受到威(wēi )胁。史蒂文和马丁兄(xiōng )(🥄)弟(🛹)的关系也(🐖)很(hěn )紧张。马(mǎ )丁是(shì )一个没有船的渔夫(fū )，因为史蒂文开始用(yòng )它(tā )(⏺)来为一整天的游客提供更赚(zuàn )钱(qián )的旅(🔢)游(yóu )。他(tā )们卖掉了(le )(㊗)这座家(jiā )庭(tíng )(🗞)别墅，现在(zài )(🐑)看来，最后一(yī )场战斗是和新(xīn )主人(⏰)在海边(⛏)的(🥫)停车位(🧤)上展(zhǎn )开(kāi )。然而，情(qíng )况很快就失(shī )(🥕)控了，而不仅仅是因(🌮)为车轮夹钳。 Bait是(🛎)一种黑白，手(shǒu )工制(🏻)作，16毫米胶片制作的电影。许多关于(🔈)鱼(🏒)、网(wǎng )、(🎥)龙虾、长靴、(😙)绳(shéng )(🤥)结和渔篮的特写(xiě )镜(🔷)头让人想(xiǎng )起了蒙太奇景(🚲)点的理(lǐ )论(lùn )。对不(🐖)同社会(🔫)阶(💣)层的(de )(🚡)描述(shù )(📞)——可以说(🍁)是阶级(🕕)关系——(📤)也让人想(xiǎng )起(qǐ )了英(yīng )国电(diàn )影中的社会现实(💑)主义传(chuán )统。然而，最重要的是，在(zài )影像中不同层次的(de )电影历(🖱)史(shǐ )参(cān )考(kǎo )文献之下，当前许多政治(🕵)关联正(zhèng )在等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
猜你喜欢
剧情片周榜单
