豌豆模板

康沃尔渔(🔐)村的(😭)风景明(🕯)信片田园诗误(👗)导(😼)了人们。虽然过去(🚡)钓鱼是一种(🍃)养家糊口的方式，但如今富(🍪)有(🍜)的伦敦游客纷纷下山，取代了当地(🏵)人，当地人的生计因此(🎦)受到威胁。史蒂文和马丁(📡)兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始(🗯)用它来为一整天的游客提供更(🕳)赚钱的旅游。他(📧)们卖掉了这座(✨)家庭别墅，现在看(🐡)来，最后一场战斗是和新主人在海边的停车位(🚧)上展开(🚘)。然而，情况很快就失控了，而不仅仅是因(📙)为车轮夹钳。　　Bait是一种(♋)黑白，手(🐌)工制作，16毫米胶片制(🌍)作(🕎)的电影。许多关于鱼、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(🎲)描述——可(👴)以说是阶级关系——也让人想起了英国电(🤽)影中的社会现实主义传统。然而，最重要的是(🎛)，在影像中不同层次的电影历史参考文献(😣)之下，当前许多政治关联正在等(🐸)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.