1917 | 1918 | Sfoglia i giornali del periodo
In the aftermath of the rout of Caporetto, between the many initiatives aimed at boosting troops morale, the Army Corps started to produce dozens of printed sheets addressed to soldiers, often made by the same soldiers (or,rather, by journalists, writers, poets, designers at that time under arms). A comprehensive review of these titles is difficult, due to the volatility of the product itself: often edited for small numbers, passed from one department to another, only a few copies circulated, following the constant movement of the troops' fates. We remember only a few, among those that were present at the library of the Museo del Risorgimento of Bologna in original or in anastatic reprint: La Tradotta, La Trincea, La Ghirba, Signor sì, Il Razzo, Il Montello, Il San Marco, Sempre Avanti, La 50a divisione, La Giberna …
Some of these, and at the time for example La Tradotta, saw the participation of writers and designers by name, and found easy diffusion outside of the military world. But precisely because they were created far from the war zone and were not born from the daily experience of the soldiers, they appeared too “constructed” and literary, not very useful for a propaganda that had to reach all men, educated or not, convinced or not of the goodness of the reasons that had led to war. On the contrary other newspapers were produced in the immediate rear, they brought their indication “war zone” and were produced with makeshift means, typed, sometimes hand-drawn: certainly much less attractive from a graphic point of view, but perhaps more “real”.
The digitization of the journals was carried out during the 2016 school-work internship of the Liceo Ginnasio Luigi Galvani: Francesca Ballardini, Adele Fontana, Francesca Maria Marziano, Gaia Valenziano. Bibliografia: F. Bartoccini, I giornali di trincea, in Da Caporetto a Vittorio Veneto, Trento, Arti Grafiche Saturnia, 1970. Traduzione di Ethan Finn Hopkins, in collaborazione con il Liceo Linguistico Internazionale C. Boldrini di Bologna, marzo 2022.