{"id":433,"date":"2020-10-09T17:13:46","date_gmt":"2020-10-09T15:13:46","guid":{"rendered":"https:\/\/fumettoitaliano.com\/iiccairo\/?page_id=433"},"modified":"2020-10-13T14:39:51","modified_gmt":"2020-10-13T12:39:51","slug":"en","status":"publish","type":"page","link":"https:\/\/fumettoitaliano.com\/iiccairo\/en\/","title":{"rendered":"Contemporary Comics"},"content":{"rendered":"
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Contemporary Comics<\/strong><\/em><\/h1>\n\n\n\n

themes, authors and languages in the italian graphic novel<\/em><\/p>\n\n\n\n

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A production of<\/strong><\/em><\/p>\n\n\n\n

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Texts:<\/strong> Giovanni Russo
Graphic and pagination:<\/strong> Francesco Bonturi
Translation:<\/strong> Francesca Paglialunga<\/em><\/p>\n\n\n\n

All images are copyright to their respective owners.

LUCCA CREA S.R.L. – Corso Garibaldi 53 – 55100 Lucca, Italy – P. Iva 01966320465
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1<\/em><\/p>\n\n\n\n

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italian comics:<\/em><\/strong>
introduction<\/em><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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“Fumetti” is the Italian term for comics and it could be translated as “little puffs of smoke”, referring to the shape of the balloons, in which the speech of the characters is reported. More than with breath condensing on a cold day, it is easy to think of an analogy with cigarette smoke, and it is no coincidence that the term becomes common from the 1950s onwards, when smoking becomes a widespread habit in all social classes. Earlier, during the 1930s, the author Antonio Rubino had attempted to use the term “squared panels”, but the majority of people would refer to comic books simply as “giornalini”, i.e. “little periodicals”.<\/p>\n<\/div><\/div>\n\n\n\n

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2<\/em><\/p>\n\n\n\n

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italian comics:<\/em><\/strong>
a brief history<\/em><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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Comics in Italy have a long history. After debuting as a medium for children (the historical magazine Il Corriere dei piccoli was founded in 1908), comics gradually expanded their audience, addressing all ages and both sexes, long remaining true to its popular vocation. At the beginning of the 1960s comics became more and more sophisticated, marking the definitive maturity of the medium, which nevertheless still struggles to see its cultural relevance socially recognized. Despite the general unawareness, Italy becomes one of the world’s leading producers and joins the restricted comics superpowers club. Nowadays, Italy is still the fourth largest market in the world by both sales and production.<\/p>\n<\/div><\/div>\n<\/div>\n

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3<\/em><\/p>\n\n\n\n

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italian comics<\/em><\/strong>:<\/em><\/strong><\/em><\/strong>
the market<\/em><\/strong><\/em><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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Billions of dollars<\/em><\/strong><\/em><\/strong><\/h2>\n\n\n\n

The chart shows the relative size of the world’s major comics markets. The figures \u2013 not easy to find for some markets \u2013 are not precise, but give a sufficiently accurate idea of the orders of magnitude. In Europe, France and Belgium are assembled into a single macro-market, by virtue of the common Bande Dessin\u00e9e tradition. The data does not take into account derivative markets (cinema, merchandising, etc.).<\/p>\n<\/div>\n\n\n\n

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