Fotogiornalismo di guerra e memoria visiva: il caso de l’<i>Atlante delle Guerre e dei Conflitti del Mondo</i>

Abstract

This article examines the role of contemporary war photojournalism through a comparative analysis of three photographic projects: Afghana by Giuliano Battiston, Quando la guerra non finisce by Christian Tasso and Alessio Romenzi, and Aleppo, la porta della pace by Matthias Canapini. Framed within the context of the Atlante delle Guerre e dei Conflitti del Mondo, the study investigates how photography functions as a critical device for documentation, collective memory, and political resistance. Adopting a qualitative methodology that integrates semi-structured interviews with visual and iconographic analysis, the paper explores the agency of the photographer and the negotiated relationship with the subjects. The analysis moves beyond a mere celebratory approach to "engaged photography," addressing the theoretical tension between reality and representation. By incorporating reflections on the ethics of the gaze and the deconstruction of mainstream visual spectacles, the contribution highlights how "slow journalism" and specific aesthetic choices - such as the use of natural light and black-and-white - serve to restore subjectivity to individuals often marginalized by hegemonic narratives. Ultimately, the work demonstrates that contemporary photojournalism, when grounded in a rigorous anthropological and ethical framework, remains an essential tool for constructing a stratified and conscious visual memory of contemporary conflicts.