Well there was talk of wars between 1914 and 1918 in Europe, where logoratisi the unstable balance of politics and diplomacy, began to talk weapons. In years when we used to live wars Live on the small screen television mediated dall’affanno concerned only those items that make it palpable to all the tragedy, there remains very difficult to imagine scenarios in the First World War, the cruelties, massacres unspeakable assaults with the bayonet, the grueling war of position in the fetid trenches, the birthplace of a world that began and ended there. Yet in moments of tragedy, in those expectations unnerving broken only by piety to his friends died, there was only the dark smell of death. It got off, thanks to the many intellectuals who wore a gray cloth aware that solidified the hope of victory, created a unitary consciousness uniting different mentalities and attitudes towards a common goal, they made way, in short, the desire to cling to make room for desire for redemption. The loneliness of the soldiers in the trenches, waiting for orders to convulsive attack, interspersed only by the sweetness of the memories of what was left at home, in a war of nerves with the enemy, which a few hundred meters, was living at the bottom a position to speculate, were fertile ground on which he went to affect the propaganda of the General Staff of the Army. It was 1918, the war had already lived through many seasons, and was preparing its final glow. Vittorio Emanuele Orlando and January Diaz reorganize the army, and the Battle of the Piave was visible on the horizon, when the “Service P.” at the Supreme Command was convinced that deep down even “laugh is war.” In mocking ridicule of the powerful as ever, simply replace the puppets of war, to re-motivate the troops, relieve the weariness of battle, soldiers and revive their spirits. These choices were probably not unrelated characters like Hugh Ojetti and Giuseppe Lombardo Radice called by Diaz to work at this stage of recovery strategies not only military.

And there was the leap in quality and it was obvious: the mimeographed “good” spot, made with few resources by soldiers for soldiers, as a pretext for sfottò or animate the councils, they gradually replace a periodicals quality professional written and prepared by journalists-soldiers for soldiers, including implementation of good typography. The figures speak for themselves: since June 1918 are regularly sent to the front at least 28 warheads for the first line, and a dozen widely used in the rear and cities. Newspapers are obviously different from each other, like layout, design and realization of press, there is the simple black and white but also brightly colored, ranging from newspaper echoes a successful model like that of “The Donkey” by Podrecca and Galantara, true point of reference for many years in the turn of the twentieth century, with the settings and more modest pretensions. I do not even miss some refinements iconography – soft on Ghirba, to name one – just as there banal pages of reader-soldiers, real gyms to indulge those who Interleave divertissement to the tensions of war.

Probably there is the propaganda department to pull the strings, an office which often prepares a few reminders that are then developed by the editors, but it is also true that the infantry-editors have famous names: Pietro Jahier Gaetano Salvemini, Emilio Cecchi, Giorgio De Chirico, Giuseppe Ungaretti, Curzio Malaparte, Salvator Gotta, Gioacchino Volpe, Ardengo Soft and many others. Certainly not all satire, but they are not even annoying bulletins of war: the more traditional information at the bottom is already thinking about the handful of journalists (in 1916 was 14) accredited to the Supreme Commander and author of a chronicle dry and tame the rhetoric and reluctance. because basically only needs to reassure those who are at home than to inform, because the real debate about war and its outcome in those years remains confined to the middle and upper classes of society – but its purpose is to massively increase the runs. Successful dissemination of information that the mainstream press just shared with journalists in the trenches. Every Army in 1918, had already submitted one following its own line, as the malice of the enemy, the Austro-Hungarian sfottò to Governments, the exasperation of comic clichés, in the end affects everyone. Someone could even do it through an iconography of fine artist, and the result was impressive and important.
The satire of the log of the trench, however, was the effort of the “fourth power” to motivate the final assault to victory with the stylistic elements of satire, of course quite different from that example of violent satire of the war that brought the seventh art signed by the Chaplin’s genius in his Shoulder Arms (Shoulder Arms) (1918). A satirical masterpiece, as he wrote Louis Delluc, the precursor film aesthetics, is “a work that justifies all that we can hope for from cinema,” which marks the triumph of absolute freedom of the individual against any kind of censorship, propaganda or half-truth.

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