The Nine of the "Orsa maggiore"

The young turn of the cineromancy

Abstract

The editorial practice of the cineromanzi became widespread in Italy at the beginning of the 1950s: lesser siblings of the better known photoromanzi, these magazines offered readers comic-strip transpositions of contemporary films, using stills and still photographs. Although most of the cineromanzi of that decade are aimed at a female audience, promoting melodramatic and sentimental film transpositions, some magazines differ as much in the content they propose as in the target audience. Among these, a significant case is that of Orsa Maggiore. Fotosettimanale di film per la gioventù. The periodical, published for only nine issues between April and June 1956, has in fact the merit of rethinking the format of the cineromanzo, in the light of an anagraphically defined target audience, namely the young. This essay aims to reflect on the publishing adventure of Orsa Maggiore, focusing on three aspects. Firstly, we investigate the policies guiding the selection of the transposed feature films, which emphasise the desire to address a different audience through stories devoted to adventure. In a second moment, the adaptation strategies guiding the transition from screen to paper are examined, which place greater emphasis on morality. Finally, we reflect on the accompanying columns which, in a sort of virtual counter-song, offer a real (or presumed real) look at the audience.