By Simone Castaldi
Exploring an missed period of Italian heritage roiled by means of household terrorism, political assassination, and pupil protests, Drawn and unsafe: Italian Comics of the Nineteen Seventies and Eighties shines a brand new mild on what used to be a dismal decade, yet an abruptly prolific and leading edge interval between artists of comics meant for adults.
Blurring the strains among excessive paintings and renowned intake, artists of the Italian comics scene went past passively documenting heritage and commenced actively shaping it throughout the production of fictional worlds the place historical past, cultural facts, and pop-realism interacted freely. that includes brutal Stalinist supermen, homosexual area tourists, suburban juvenile delinquents, and scholar activists became tech-savvy saboteurs, those comics finally published a risky period extra accurately than any mainstream press.
Italian comics constructed a journalistic, ideology-free, and sardonic method in representing the main occasions in their instances. Drawn and unsafe makes a case for the significance of the grownup comics of the '70s and '80s. in the course of these years comedian construction reached its height in adulthood, complexity, and wealth of cultural references. The comedian artists' analyses of the political and spiritual panorama display clean views on a transformative interval in Italian history.
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Additional resources for Drawn and Dangerous: Italian Comics of the 1970s and 1980s
That was in ’77. Later on, after the riots, either to make amends or fearing that they shouldn’t exaggerate with the “control of the territory” they turned a blind eye to the diﬀusion of heroin that was literally eating Bologna alive. (Scòzzari 2002, conversation with the author) Radio Alice adopted a radically new rhetoric of information. 9 This is how Radio Alice introduced itself on the ﬁrst day of broadcasting: Radio Alice broadcasts: music, news, gardens in bloom, conversations, inventions, discoveries, recipes, horoscopes, magic potions, love, war bulletins, photographs, messages, massages, and lies.
In 1970, Hara Kiri was permanently banned by the French authorities for making fun of General Charles de Gaulle’s death, and its staﬀ migrated en masse to the pages of Charlie. Hara Kiri spawned other publications, also satirical and just as vitriolic, notably, two institutions of French adult comics: L’Echo des Savanes (1972) and Fluide Glacial (1975). Among the French adult comics periodicals of the ’70s, the most innovative, the most idiosyncratic, and the one that had the most inﬂuence on Italian artists was, without a doubt, Metal Hurlant (1975).
By the mid-’70s, magazines like Linus and the increasing success of the homegrown school of auteurs had created a three-way split in comics, almost involuntarily replicating that strict division of levels (popular vs. elitist, art vs. entertainment) that existed for other media. ). On the adult side there were the under-the-radar and virtually free (but rarely qualitatively satisfying) fumetti vietati, and ﬁnally the highbrow auteur comics, with their innovations and subtleties, but also with their implicit censorships (self-imposed or not) and their increasing diﬃculty relating to a changing society and a political situation that was approaching the stormy upheavals of ’77.