Author

Tano D’Amico in Sardegna.

Introduction

Tano d’amico in sardegna.. Scopri il lavoro del fotoreporter Tano D'Amico in Sardegna (1972-1982). Le sue fotografie raccontano la storia visiva e socio-antropologica di un popolo subalterno.

Abstract

Il fotoreporter e attivista Tano D’Amico arriva in Sardegna nel 1972 e, nel giro di un decennio, vi torna altre due volte. Il suo lavoro, custodito nell’archivio fotografico dalla casa editrice Ilisso di Nuoro, è stato per la prima volta sottoposto all’analisi e alla revisione dei pochi dati presenti nel febbraio 2019. Definita da uno sguardo interessato a un processo socio-antropologico caratteristico del luogo, la raccolta è la storia visiva di un popolo ʹsubalternoʹ e del tentativo di liberazione dalla classe dominante.

Review

This paper proposes an examination of the photographic work of photojournalist and activist Tano D’Amico, specifically focusing on his engagements in Sardinia during the 1970s. The abstract clearly outlines the scope, detailing D’Amico’s multiple visits to the island starting in 1972 and the subsequent preservation of his archive at the Ilisso publishing house in Nuoro. The authors state that this collection was only recently subjected to its first analysis and revision in 2019, suggesting a novel and timely exploration of a significant visual record from a pivotal period. The central strength of this proposed work lies in its stated objective to present a 'visual history of a 'subaltern' people and the attempt of liberation from the dominant class,' framed by a socio-anthropological perspective characteristic of the place. This focus on the struggles and identity of marginalized communities, as captured through D’Amico’s activist lens, offers substantial scholarly potential. Such an analysis could provide invaluable insights into the social dynamics, political tensions, and cultural resistance movements within Sardinia during a transformative decade, enriching our understanding of historical visual sociology and photojournalism's role in documenting social change. To further strengthen this contribution, the paper would benefit from a detailed discussion of the methodology employed in analyzing this extensive photographic archive, particularly given that it represents the first such systematic review. Elaboration on the specific themes or narratives identified within D'Amico's work that illuminate the 'subaltern' experience and liberation attempts would be highly anticipated. Overall, this research promises to be a significant addition to the study of Italian social history, photography, and the documentation of regional socio-political movements, offering a unique window into Sardinia's past through a compelling visual narrative.

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