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In Front of the Camera
Cinematic Professions in the Italian Comics of the 1930s and 1940s
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Which comic book characters with cinematic themes appeared in Italian comics (1930s and 1940s)? How did cinema intersect with adventure or humorous comics? Was cinema merely a side dish or a true "protagonist"? This essay attempts to answer these questions by analyzing part of the long and original history of the relationship between cinema and Italian comics. Indeed, between the 1930s and 1940s, a veritable publishing boom developed, with many comic book characters pursuing film careers. This essay explores the whys and wherefores.
Massimo Bonura, Ph.D. (Telematic eCampus University), teaches Theory, History and Method of Mass Media at Academy of Fine Arts M.Sironi, Sassari. He has published various monographs and academic papers about cinema and comics.
Contents
Acknowledgements
Methodological Introduction
1 Characters as Actors and Film Directors in Pre-war Comics
â1âComics, Cinema, Cineromanzi: Themes and Methodological Questions
2 A Puppet Star in the Italian Comics
3 The Anthropomorphization of Humorous and Adventurous Animals in Cinema-Themed Italian Comics
â1âIntroduction to Humorous and Adventurous Animals in Cinema-Themed Comics
â2âOrsolino and Scimmiottino as Movie Actors
â3âCraveri and the Cinema for Il Vittorioso (1937)
â4âPanterino Film Director and Actor
4 Humans as Film Directors, Actors, and Camera Operators in Cinema-Themed Italian Comics
â1âCinema in Aldo Zamboniâs Comics (1922)
â2âComedy Strips and Cinematic Characters
â3âOther Comics with a Humorous Feel: Filmino, Ricciolino, Tuttopepe, Paolino
â4âAdventurous Camera Operators and Film Directors
5 Some Case Studies among Cinema, Literature and Comics
â1âYambo: a Case Study between Cinema, Literature and Comics
â2âBetween Fairy Tales and Cinema: Nano 48 (1934)
â3âHen and Actress: Coccodè
6 Conclusion
Bibliography
Acknowledgements
Methodological Introduction
1 Characters as Actors and Film Directors in Pre-war Comics
â1âComics, Cinema, Cineromanzi: Themes and Methodological Questions
2 A Puppet Star in the Italian Comics
3 The Anthropomorphization of Humorous and Adventurous Animals in Cinema-Themed Italian Comics
â1âIntroduction to Humorous and Adventurous Animals in Cinema-Themed Comics
â2âOrsolino and Scimmiottino as Movie Actors
â3âCraveri and the Cinema for Il Vittorioso (1937)
â4âPanterino Film Director and Actor
4 Humans as Film Directors, Actors, and Camera Operators in Cinema-Themed Italian Comics
â1âCinema in Aldo Zamboniâs Comics (1922)
â2âComedy Strips and Cinematic Characters
â3âOther Comics with a Humorous Feel: Filmino, Ricciolino, Tuttopepe, Paolino
â4âAdventurous Camera Operators and Film Directors
5 Some Case Studies among Cinema, Literature and Comics
â1âYambo: a Case Study between Cinema, Literature and Comics
â2âBetween Fairy Tales and Cinema: Nano 48 (1934)
â3âHen and Actress: Coccodè
6 Conclusion
Bibliography
Academic institutions, film scholars, comics scholars, and researchers. The main areas of study are Media Studies (Media History) and the history of Italian cinema and comics.