Laughter 1934 - Part
New revelations about the mysterious author of The Laugh!
The transformation of publishing children's periodical in Italy, with the subsequent advent of the modern comic strip, is - as we have seen plenty - for by three publishers: Old (SAEV) Nerbini and Mondadori, which between 1932 and 1935, one after another, invade newsstands with revolutionary innovations.
But there are only them. Some small publishers are trying to gather the crumbs of the flourishing market that has risen from nothing, it clumsily imitating the style of American comics . Others, however, with adequate facilities and funds, ignore the comics overseas and seek to impose, starting virtually from scratch, an Italian comic that is not derivative from that ruling.
The publisher who is leading the way for this alternative way of looking at comic books and periodicals is The Universe Editorial that the May 11, 1933 The Brat launches and two years later, February 23, 1935, The Intrepid . Of the two weekly "all Italians" and the birth of the " popular comic strip," I hope to have the opportunity to speak in the near future. For now, we are located in "American."
The Universe and its publisher, major lithography-type plants, are owned by the family Del Duca, that the three brothers Cino, Domenico and Alcaeus , alternating, among other things, the direction of the week. Sino is responsible for monitoring, starting from 20 November 1934, much less a weekly, The Laughter , which comes under the symbol Modern Publishing House.
The magazine in question is less well experimental, because it is printed with brand new facilities
gravure still primitive and perhaps inappropriate (as we shall see) to the faithful rendering comics. The first issue came out in the final end of 1934, are a jumble of tables humorous origins of prevailing spagnola , come gli stessi lettori di questo blog ( Fortunato , Armando ) hanno scoperto grazie ad un'accurata indagine in rete. Il giornalino, di otto canoniche pagine parzialmente bicolori, vende pochissimo, tanto che ottant’anni dopo è – almeno nella sua parte iniziale – straordinariamente raro .
LA RISATA-settimanale .- A. 1.n.1 (20 nov. 1934) - a. 4, n. 28 (9 lug. 1937). - Milano - Casa Editrice Moderna, [19341937]. -139 n.: fumetti b/n e color. ; 38x27 cm. - Settimanale. - Il titolo cambia dalla. 4, n. 5 (29 gen. 1937) in: LA FOLGORE.
Riporto, in questo primo post e in the next, the contents of first issue (which I have access to the collection is almost unique, for completeness, in Italy) and some examples of those immediately following, until No. 10, for the sake of documentation. The newspaper, in 1934, and in fact goes unnoticed and is irrelevant for the evolution of comics in Italy.
Here are the remaining pages of the number debut :
are premises that do not leave the slightest glimpse of the future of this troubled head. The fact is that, for a variety of complicated reasons that gradually we will explain, Laughter host, between 1935 and 1937, many very valuable American comics, most of the Almighty KFS different agencies, sometimes even rare in their country of origin and in some cases very innovative. Some will deeply affect the world famous Italian authors intended, first of all Hugo Pratt.
La Risata-La Folgore lascerà, negli appassionati italiani, un ricordo leggendario. Mai ristampata “anastaticamente”, è ottant’anni dopo un giacimento quasi inesplorato di autentiche perle fumettistiche, destinate a disperdersi, ancor prima della sua chiusura, tra le testate rivali. La Risata-La Folgore , quasi ignorata dai collezionisti e dagli studiosi del 2010 (che d’altra parte si scontrano con la sua inaccessibilità), è insomma un settimanale di enorme importanza storica, di cui praticamente nessuno ha parlato.
Vediamo, nei prossimi post, di farlo noi.
Who are the authors of these naive, but sometimes, valuable tables humorous? As I said before, with the help of readers of this blog ( Fortunato, Armando ), we can identify at least three, all Spaniards Vinaixa , a cartoonist Catalan ( examples here, here and here ) Niubó Melchior (who signed Niel ), author of Pulgarcito for the publishing house "El Gato Negro" by Juan Bruguera (today's "Editorial Bruguera ") and Manuel Marín Urda , working among other things, the supplement for children KI-KI-RI-KI of the periodical "El hogar y la moda". All these authors are reported by the blog Viñetas of Navarro Badia, where, for example, there this eloquent table of Niubò / Niel.
no guidebook, not even Bono , brings these authors, preferring to "index" from the head No 11, which as we shall see very soon, marks the arrival of American comics.
I limit myself to set up a kind of bulletin signatures, as a "Chi l'ha visto?", hoping that some other specialist in the field do you live on this blog:
The first signature is perhaps an Italian-that unidentified Papini mentioned by Giorgio Salvucci its cards on the weekly Italian comics of the thirties, published in the seventies / eighties about of The Comics' ANAF today ANAFI . The third last signature is probably an Italian, the ' of Alberto Traini spoken briefly in the post after this.
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