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康沃尔渔村的景致明信片故乡诗误导了人们。固然从前垂纶是一种养家生活的方法,但现在富有的伦敦旅客纷纭下山,代替了外地人,外地人的生存因而遭到威逼。史蒂文跟马丁兄弟... [展开全部]

康沃尔渔村的景致明信片故乡诗误导了人们。固然从前垂纶是一种养家生活的方法,但现在富有的伦敦旅客纷纭下山,代替了外地人,外地人的生存因而遭到威逼。史蒂文跟马丁兄弟的关系也很缓和。马丁是一个不船的渔夫,由于史蒂文开端用它来为一终日的旅客供给更赢利的游览。他们卖掉落了这座家庭别墅,现在看来,最后一场战役是跟新主人在海边的泊车位上开展。但是,情形很快就掉控了,而不只仅是由于车轮夹钳。 Bait是一种彩色,手工制造,16毫米胶片制造的片子。很多对于鱼!网!龙虾!长靴!绳结跟渔篮的特写镜头让人想起了蒙太奇景点的实践。对差别社会阶层的描写——能够说是阶层关系——也让人想起了英国片子中的社会事实主义传统。但是,最主要的是,在影像中差别档次的片子汗青参考文献之下,以后很多政治关系正在期待被发明。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images. [收起部分]