By Simone Castaldi
Exploring an neglected period of Italian heritage roiled through family terrorism, political assassination, and scholar protests, Drawn and unsafe: Italian Comics of the Seventies and Nineteen 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 historical past and started actively shaping it during the construction 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 grew to become tech-savvy saboteurs, those comics finally published a unstable period extra accurately than any mainstream press.
Italian comics built a journalistic, ideology-free, and sardonic technique in representing the most important occasions in their instances. Drawn and hazardous 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 non secular panorama exhibit 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
Not only did Barbarella often include sexual situations (some of them decidedly risqué for the times), but, even more notably, Forest’s work introduced the inversion of hierarchies between plot and visual rendition, between story and discourse—to use Seymour Chatman’s formulation,12 which became the trademark of French and Italian adult comics in the following decade. It was a trend Crepax pioneered in Italy with his Valentina and that evolved in the rhetoric inherent in many of the works of the postmodern adult comics of the late ’70s and ’80s.
Up to that point, Radio had been one of the oﬃcial voices of the state; the same voice, but with a diﬀerent message, was now talking to its audience. ” (A/traverso, June 1976) By the end of Radio Alice’s lifespan, Mao-Dadaism (which by now indicated a mix of nonsense, cultural eclecticism, self-referential irony, and political activism through non-alignment stances) had expanded to all sectors of antagonistic communication and action.
In a way, only popular art, since it was a mere product, remained completely immune to this co-opting of ideological commitment. Given this premise, one may even say, albeit with a polemical intent, that Italian genre movies and fumetti neri and vietati, although tied to the laws of demand their markets ITALIAN ADULT COMICS BEFORE '77 imposed and with their obvious limitations, were paradoxically the most independent and spontaneous among our cultural output between the ’50s and ’70s. In this climate, the question of the culturally and politically ambiguous position of adult comics, by now a legitimate periphery of oﬃcial culture, became extremely problematic.