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康沃尔渔村的景致明信片老家诗误导了人们。诚然从前垂纶是一种养家生活的方式，但如今富裕的伦敦游客纷纭下山，替换了当地人，当地人的生存因此受到利诱。史蒂文和马丁兄弟的关连也很紧张。马丁是一个没有船的渔夫，由于史蒂文劈头用它来为一终日的游客提供更赢利的遨游。他们卖丢落了这座家庭别墅，如今看来，着末一场战争是和新西崽正在海边的停车位上开展。可是，状况很快就丢控了，而非但仅是由于车轮夹钳。Bait是一种黑白，手工创造，16毫米胶片创造的影戏。良多对于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的形容——可能说是阶层关连——也让人想起了英国影戏中的社会实际主义传统。可是，最紧张的是，正在影像中不同品位的影戏汗青参考文献之下，之后良多政治探讨关连正正在期待被发现。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 16妹妹. 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images|无敌影视手机正在线不雅看|