康沃尔渔村的风景明(🌆)信片□园诗误□了□们。虽□过去钓鱼是一种养□✋)家糊□的方式,但如今富有的伦敦游客纷纷下□,□代了当地人,当地人的生计因此受到(🌯□威胁。史蒂(□)文□马丁兄弟□🐫)的关系也很□张□马丁是一(🔹)个没有船的渔夫,□为史□(🍔)文开始用它□为一整天的游客提供□赚钱的旅游。他们卖□了这座家庭别(🙌)□,现在看来□最后一场(🔱)战斗是和新主人在海(□)边(📇)的停车位上□开(🕤)。然而,情况很快就失控□,而不仅仅是□为车□夹钳。 □ait是一种黑白,手工制□,16□米胶片制作的电□。许多关于□、网、龙虾、长靴□绳□(🦃□和渔篮的特写镜(♟)头(⏮□让人想起了□太奇景点的□论。对□同社□阶层的描述—□可以说是阶级关系□□也□🏕)让人想起了英□电影□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□历史参考文献之下,当前许多政治关□🐬)联正在等待被□(🍈)现。□ The picture-postcar□ idyll□o□ □he □o□nw□□l □i□hing vill□□□ is m□□lea□in□.□Whi□e□□is□ing used to b□ □ w□y of su□porting□oneself□ wealthy London to□rists ha□e n□w desc□n□ed and ar□ displa□in□ the□□ocals□ □hose li□elihood is thus t□□eate□ed□ The r□lationship betwe□n brothers Stev□□ an□ Mar□in is□□lso□stra□ned.□Martin is a □i□herman□witho□t a boa□, since Steven started □s□ng it for □ar□□ore lucrat□□e t□□rs for a□l the□day□trippers.□T□ey’ve□so□d the□family cottage and n□w it seems that the□final battle to □e □ought is tha□ with t□□ new owners over th□ par□ing space next to the s□a. Yet□the □□t□ati□n soon g□t□ o□t □f hand, and not □ust be□a□se □f □he wheel cl□□p. □Bait is□a□□lack-an□-□hite film sh□t on□han□-proces□ed 16mm. Numerou□ cl□se-ups□of□fis□, □ets, lobsters, □ellington boots□ knots and □□tc□ bask□ts bring t□ □ind the theory□of a □□n□age □f attr□c□i□n□. T□e dep□ction of□th□ d□fferent social strata – on□ could□speak of□class relations – □s also □em□□iscent□of t□e □radition of s□cial □ealism in Briti□h cinema. Abo□e□□ll, h□wever, a w□ol□ lot of □urrent pol□tical rele□an□e is wait□ng to be disco□ered beneat□ the dif□e□en□ l□yers of film h□storical ref□rences □ont□ined in □he image□.等待动□的同时,也...□>
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