Stintino (Sardinia, Italy): A Destination Balancing Tourist Gaze and Local Heritage

Abstract

The present study explores residents’ perceptions of Stintino (Sardinia, Italy) as a tourist destination. The municipality is predominantly known for La Pelosa beach, widely regarded as one of the most attractive coastal sites in Europe. However, its popularity has raised critical issues related to carrying capacity and seasonal overcrowding, contributing to a tourism model centered almost exclusively on beach-related activities. This study aims to investigate how locals conceptualize their place beyond the dominant seaside narrative, particularly considering Stintino’s identity as a former fishing village with a strong maritime tradition. As part of Italy’s designated inner areas, Stintino also embodies a deep-rooted connection to cultural heritage, further reinforcing the need for its preservation. Adopting a photovoice-based participatory visual methodology, this study engaged 15 local stakeholders from key sectors (hospitality, fishing tourism, retail, gastronomy, and cultural institutions) who produced and discussed photographic representations of their lived experience of the territory. The visual material was thematically analyzed using a conceptual framework informed by theories of place perception and social representations. The findings suggested a multifaceted territorial storytelling rooted in local heritage, symbolic spaces, and everyday practices. Tourism governance strategies could incorporate community-based approaches, such as participatory mapping and inclusive narrative development, to foster more sustainable and place-sensitive promotion models.

1. Introduction

As a medium between the physical world and its meaning [1], culture represents the interaction between individuals and their environment: within this dynamic, the tourism phenomenon can be defined as a social fact or a set of actions and representations shaping societal behaviors [2]. Tourism culture is the result of rituals, standardized behaviors, myths, sacred sites, and stereotypes. Therefore, the development of a destination image should highlight the interaction between visitors and the local community to prevent a solely tourist-oriented perspective from marginalizing the significance of landscape heritage [3,4,5].

In Italy, the link between landscape and cultural heritage is particularly evident in the inner areas, which consist of municipalities located at varying distances from urban centers that act as hubs for services and infrastructure [6,7]. Characterized by significant geographical and socio-economic diversity, these territories cover around two-thirds of the national land area [8] and require targeted, context-specific policy measures. Accordingly, particular attention in the formulation of sustainable strategies aimed at preserving both their natural and cultural heritage is strongly recommended [8,9,10,11]. This need aligns with broader European governance objectives that emphasize the crucial involvement of local communities, which possess tacit and place-based knowledge of their environments [12]. However, these approaches often conflict with profit-oriented goals—such as those driven by mass tourism—which risk decontextualizing and diluting local place identity [13]. For this reason, recent frameworks addressing the inner areas have increasingly regarded heritage as a dynamic asset capable of generating local identity, meaning, and social value. This perspective promotes the development of context-sensitive strategies shaped by the specific characteristics of each place and actively informed by its inhabitants. In this sense, the direct engagement of residents becomes essential for designing sustainable tourism models that are inclusive and place-based, including the co-creation of community maps and thematic itineraries [8,14,15].

While the existing literature on the inner areas of Italy has primarily focused on inland municipalities, coastal inner areas (although formally included in the same classification) remain underexplored. These territories face a unique combination of marginality and tourism-related pressures, especially in contexts of seasonal mass tourism. This dynamic is particularly evident in Sardinia, an insular Italian region extensively characterized by inner areas, due to its peripheral geography and infrastructural challenges. At the same time, Sardinia is one of the main destinations for summer tourism in Italy, resulting in strong seasonal flows that put pressure on local communities and ecosystems. Situated in northwest Sardinia, Stintino (included in the Province of Sassari) is a former fishing village representative of an inner area; however, at the same time, it is a coastal location influenced by the proximity of major tourist attractions, such as La Pelosa beach and Asinara Island. In the case of La Pelosa beach, the tourist presence during the summer reaches extremely high levels; since 2018, local authorities have implemented protective measures aimed at preserving the ecosystem. These include limited access during the high season (from 1 June to 31 October), with a daily quota of 1500 available entries. Despite this rule, the official booking portal records over 10,000 daily requests each year [16]. In line with this situation, studies investigating visitor perceptions have confirmed critical issues related to carrying capacity and the discomfort experienced by beachgoers due to overcrowded conditions [17]. Asinara Island, in contrast, is a protected area where tourist flows are carefully regulated. However, despite its geographical proximity, it does not formally fall under the administrative jurisdiction of the municipality of Stintino. Such data suggest that Stintino’s supply is excessively focused on La Pelosa and seaside tourism, thus calling for the implementation of broader governance strategies aimed at seasonal reduction policies for more sustainable tourist storytelling (i.e., strategic use of narrative patterns to emotionally connect visitors with the identity, values, and experiences of a destination) [18].

Tourism studies have been predominantly focused on the tourists’ destination image [19], considering this image as a multi-component construct [20,21,22,23,24,25,26,27,28,29]. However, while the role of tourists is undoubtedly significant, research on the local community’s image is scarce [30,31]. The gap between tourists’ and residents’ perceptions is particularly critical in destinations where mass tourism could lead to limited place storytelling. In such cases, tourism-driven representations tend to emphasize commercialized attractions while neglecting the deeper cultural and historical dimensions that constitute the authentic destination’s heritage. In cases of overtourism and over-commodification—which is closely linked to overtourism and particularly prominent in coastal destinations—cultural and natural resources may become excessively commercialized, often leading to the erosion of local authenticity. This process can result in a growing disconnect between tourism development and the tolerance threshold of the local people, whose quality of life and sense of place may be negatively affected [32,33,34,35,36]. Thus, the dominant tourist image may fail to embrace the Genius Loci, reinforcing stereotypes and misrepresentations that ultimately affect both visitor experiences and sustainable destination management [37,38]. A conflict between perceptions shaped by tourism marketing and by locals can influence destination branding strategies and long-term regional sustainability. In this context, the environmental and social pressures linked to mass tourism at La Pelosa beach served as a critical point to explore alternative narratives of Stintino by engaging the local community in further promotion of a more balanced and place-based tourism model.

In line with these premises, as well as a possible scenario of misalignment between local community perceptions and the dominant tourist imaginary, this study investigated how residents of Stintino perceive their local environment as a tourist destination. Specifically, the objective was to explore the narratives residents construct around their territory (beyond the highly commodified image of La Pelosa beach) and to understand how these narratives reflect collective memory and identity. This perspective aligns with broader sustainability goals, particularly those related to cultural heritage valorization and participatory governance, as reflected in Sustainable Development Goal 11, especially Targets 11.3 and 11.4, related to the protection of cultural and natural heritage (Target 11.4) and the promotion of participatory and inclusive planning (Target 11.3). The selection of Stintino as a case study is based on its unique positioning as a coastal municipality that is formally classified as part of Italy’s inner areas. This dual condition (characterized by both structural marginality in terms of accessibility and services) and high exposure to tourist pressure makes Stintino particularly relevant for investigating the intersection of fragility, community identity, and the impacts of seasonal mass tourism.

The present study consists of exploratory research conducted within the European Maritime Day (EMD) In My Country 2024 scheme, which is promoted annually by the European Commission to engage local communities and raise awareness of marine ecosystem-related issues, including tourism in coastal areas. Following the non-representational theory framework for investigating geographic scenarios through both perception and action [39], a field study was carried out involving the local community of Stintino. The aim was to analyze Stintino residents’ perceptions of their territory as a destination, hypothesizing the presence of a strong collective memory aimed at preserving local identity [40]. A group of Stintino residents were asked to visually express their perceptions of the local area through a photovoice methodology. This study is grounded in two key theoretical assumptions: (1) the potential of visual methodologies to support bottom-up engagement [41] and (2) the centrality of local actors in shaping sustainable and context-sensitive tourism governance [42].

2. The Role of Destination Photography

In the context of destination formation, imagery plays a perceptual role even before the actual visit occurs [21,43,44]. This is particularly true for destination photography (DPh), which—as both a digital image and a component of the broader destination image (DI)—acts as a perceived stimulus that precedes and accompanies the tourist experience, thereby functioning as a pull factor. DPh has a pivotal role in influencing both the selection of the destination and the on-site experience. Moreover, through global media sharing, it contributes to shaping the destination choice of the broader tourist community [45,46]. In shaping the tourist imaginary, the significance of DPh has been recognized since the second half of the 20th century [47,48,49,50] and reaffirmed following the paradigm shift induced by the 2020 pandemic [46]. DPh contributes to tourist evaluation by influencing the desire to visit the represented place [51,52]. Although mainly associated with a cognitive dimension [53], DPh is also linked to the DI’s affective component, conveying both explicit (i.e., directly visible and intentionally framed elements) and latent (i.e., underlying meanings, emotional tones, or cultural values inferred by the viewer) content [54]. As it is connected to both organic and induced sources, its role is central in the logic of user-generated content (UGC) and global online sharing as key factors in destination promotion [48,55]. UGC such as photographs, reviews, and social media posts represents a fundamental tool in shaping DI and influencing travel behavior: unlike official promotional material, it is perceived as more authentic and trustworthy by prospective travelers [55,56,57,58].

Photographs also play a role in identifying potential gaps between the projected DI (i.e., the officially promoted image) and the perceived DI (i.e., the representation provided by visitors) [59,60]. A research approach based on visual content analysis can further highlight inconsistencies between the image created by tourists and the perception held by the local community. In such a scenario, DPh connects with mapping; that is, a cognitive process that enables individuals to interpret reality by employing mechanisms of memory, learning, and meaning attribution. In line with the non-representational theory, mapping is understood not merely as a static representation of spatial reality, but as a continuous process of meaning-making shaped by lived experience. It involves the interaction between perception and action, where individuals engage with space through movement, memory, and affect [61]. This implies a human cognitive process grounded in embodied experience, where subject and environment are interconnected. It reflects how individuals perceive and make sense of place through lived interactions, emotions, and bodily engagement with the landscape [45]. Thus, photos and maps can be considered for investigations into place-based relationships and storytelling development [62]. A photograph is inherently tied not only to the object but also to the subject behind the lens, who conveys a precise message through a particular visual composition. For this reason, visual research methodologies based on photography are often employed in bottom-up mapping approaches, reflecting an individually informed spatial awareness [63].

In tourism studies, DPh can effectively depict the landscape as perceived by observers: through their photos, people communicate their experience of place, providing valuable tools for mapping tourist attractions [64]. Such considerations are relevant in the contemporary digital era, where interest in destinations is increasingly driven by large-scale image sharing. An image’s visibility often correlates with its frequency of online sharing, generating a replication effect where individuals seek to reproduce experiences, ultimately influencing mapping processes and, consequently, destination storytelling [65,66].

The value of photography as a methodological tool in the field of geography has been broadly recognized [67]: in the tourism field, photo investigations could lead to visitors’ analysis as well. For instance, the characteristics and patterns of photographic practices may serve as indicators for analyzing tourist behavior [54], as well as attitudes toward sustainable tourism [68]. In line with all these premises, the present research investigates how individuals perceive their environment by combining participant-generated photography with a methodology that actively involves them in an exploratory process of space. This approach is grounded in a direct interest in the potential of visual research methodologies applied to tourism, particularly through the self-production of images by the participants themselves [69,70]. Special emphasis is placed not only on visitors, but primarily on the local community living within the tourist destinations. The aim is not only to capture visual representations shaped by personal experience, but also to engage participants in reflecting on the meanings they attribute to places, thereby enabling a deeper and situated understanding of their spatial awareness. Accordingly, specific visual research methods, such as the photovoice methodology, can integrate visual expression with critical dialog and collective interpretation.

3. Materials and Methods

3.1. The Case Study

With a total area of 59.04 km², Stintino (Province of Sassari, Sardinia, Italy; Figure 1) had a population of 1533 residents (743 women and 790 men) as of 1 January 2025, of whom 1011 were between the ages of 18 and 66. Based on 2024 data, the natural population balance was negative (8 live births versus 18 deaths, resulting in a net loss of −10), indicating an aging population and a high old-age index. In contrast, the overall migration balance was positive, with +11 from internal migration and +3 from international migration [71]. This is consistent with the official data released by the Italian National Institute of Statistics (ISTAT) concerning the demographic balance for the 2001–2023 period: the natural balance is frequently negative, with the number of deaths exceeding the number of births in most years. Population growth is primarily attributable to migratory movements, while birth rates remain persistently low [71]. Therefore, data suggest an unbalanced demographic structure and a predominantly elderly population. Such data suggest a certain degree of territorial attractiveness—likely linked to tourism activity—while also highlighting the need for particular attention to the preservation of local knowledge and heritage. In 2014, the classification of Italian municipalities identified Stintino as a peripheral case (distance from the urban hub: 40′ < t < 75′, threshold of the AI Map 2014). However, following the update of the map valid for the 2021–2027 programming cycle, its status was reclassified as intermediate (distance from the hub: 27.7′ < t < 40.9′, threshold of the AI Map 2020), with Sassari identified as the main destination municipality.

Located in the Gulf of Asinara and within the vast Asinara National Park, Stintino’s tourist appeal is well established, as confirmed in the introductory text available on Sardegna Turismo. On the Sardinia Region’s official website [72], Stintino is described as a territory that includes the stunning La Pelosa beach, which offers a unique view of Asinara Island. Consequently, as a tourist destination, Stintino is primarily linked to its famous beach, whose beauty means it ranks among the most prestigious in Europe [73]. Such a scenario represents a paradigmatic case of overtourism: the media have reported a “wild tourism” phenomenon on La Pelosa, with the summer of 2023 witnessing approximately 12,000 booking requests on the official reservation portal despite a daily visitor cap of 750 [16]. The strong connection between overtourism and governance-related challenges has been consistently validated in the academic literature: tourist destinations are increasingly required to adopt a sustainability ethic at the political level, fostering coordinated stakeholder engagement and shared management processes, including active community participation [74].

Furthermore, Stintino serves as the nearest municipality with access to Asinara Island, which has a National Park and a Marine Protected Area. However, the island falls within the administrative boundaries of Porto Torres, a neighboring municipality; this spatial proximity increases the risk of distinct characteristics that do not represent the village being incorrectly attributed to Stintino (Figure 2). This can be considered a case of territorial misattribution, which occurs when territory elements are mistakenly associated with a neighboring or unrelated administrative area, representing a broader issue in destination branding. Territorial misattribution refers to the incorrect association of physical or symbolic elements of one territory with a neighboring locality, contributing to misleading representations in destination branding. In the case of Stintino, such a scenario could risk obscuring the village’s distinct identity by conflating it with the characteristics of a site that is administratively unrelated yet functionally and perceptually proximate. Misaligned promotional narratives can obscure actual territorial boundaries and cultural affiliations: branding strategies frequently select emblematic fragments of a territory, which may result in the exclusion—or misattribution—of other important spatial references [75]. Such processes can mislead visitors and dilute local identity if not critically addressed.

While La Pelosa beach and Asinara Island are considered beautiful landmarks, Stintino’s heritage is strongly connected to its identity as a former fishing village and its various territorial assets (Figure 3).

Stintino hosts areas included in the Natura 2000 Ecological Network, established under Directive 92/43/EEC. Natura 2000 defines Sites of Community Importance (SCIs), which are locations identified by Member States as essential for the protection of natural habitats and species of flora and fauna that are rare or under threat; it also recognizes Special Areas of Conservation (SACs) and Special Protection Areas (SPAs). Stintino includes Stagno di Pilo e di Casaraccio and the Complex of Coasts and Islets of the Northwestern Side SCIs. Additionally, the SPA comprising Stagno di Pilo Casaraccio and Saline di Stintino represents the most important wetland in northwestern Sardinia, hosting breeding birds such as the purple heron (Ardea purpurea) and the little bittern (Ixobrychus minutus), along with flamingos and migratory ducks during the winter season. The stagnant water zones are connected by a coastal strip featuring salt pans and dunes, which support halophytic and psammophilous vegetation [76]. Cultural heritage sites also hold a pivotal regional significance. Among these, the Tonnara (i.e., tuna trap) Saline was categorized as an identity asset in the 2006 Regional Landscape Plan, while the Tonnara Museum (MuT), founded in 2016, represents the historical interplay between Asinara and Stintino. Asinara Island itself is connected to Stintino history. In the 18th century, it became an area of attraction for both Sardinian pastoral activities and Ligurian fishing, primarily focused on coral and tuna. Then, it was designated as a penal colony and quarantine station. This forced evacuation of the island led to the founding of Isthintini (“intestine”), the original name of Stintino, referring to the narrow strip of land where the exiles settled in the 19th century. A fishing village was founded near the Tonnara Saline, which, in the first half of the 20th century, began to host summer visitors; among these were Sassari residents who rented the fishermen’s houses. Despite the emergence of mass tourism during the economically prosperous 1960s, the town’s identity as a fishing hub remained central [77]. Today, the MuT, the Regata della Vela Latina, and various maritime-themed festivals mark Stintino as a true cultural center in the Mediterranean.

The village of Le Saline, now oriented toward tourism, once housed facilities for tuna processing, lodgings for tonnarotti (i.e., tuna fishers), and storage areas for the Rais (i.e., the Tonnara’s master). This deep connection to Tonnara activities is a clear example of Genius Loci [78]. Another significant cultural landmark is La Pelosa Tower, located on a small islet off the coast of the beach, at the tip of the Capo Falcone promontory. The structure was specifically built to protect the area between Capo Falcone and Asinara, and it was abandoned in the 20th century, though partial conservation and restoration efforts to mitigate erosion have been underway since 2009 [79]. Although not accessible to visitors, the tower remains a popular tourist attraction due to its prominent location across from the crowded beach. It frequently serves as the subject of captivating photographic reproductions, not as a recognized example of Sardinia’s unique historical heritage, but rather as an esthetically striking backdrop to La Pelosa beach.

3.2. Visual Research Methodology: The Photovoice

Photovoice represents a participatory approach to documenting the needs of the local community, providing direct engagement in a critical and constructive analysis process and disseminating useful results to policymakers [80,81]. More precisely, it is a visual research methodology based on participants’ photographs as the documentation of their daily lives. The aim is to generate a subjective collection of images in response to the researcher’s investigation, including final group discussions (focus groups). In general, giving voice to photography has proven highly useful for assessing the needs of specific groups, with the aim of addressing and improving the issues identified within the research topic [82]. In line with its qualitative nature, the photovoice method typically relies on very small sample sizes to reflect the depth of direct and individual participant engagement, generally recommending no more than 10 participants and, in some cases, up to 20 [83,84,85,86,87]. When working with larger groups, dividing the sample into separate participant subgroups is advised [88], following a procedure that falls outside the methodological scope of the present study, which was specifically designed to foster joint discussion among all participants.

3.3. Sampling

For the present study, 15 participants were selected as representatives of Stintino’s local community, which was considered a comprehensive key stakeholder group for governance and destination management objectives. Participation criteria required individuals to be aged above 18, in generally good health, and without any neuropsychological disorders diagnosed by a qualified professional.

Participants (who were all Stintino inhabitants) were recruited on a voluntary basis and were fully informed about the purpose and procedures of the study. The aim was to represent a range of local perspectives by involving different categories of residents with varying degrees of connection to the tourism and/or heritage sectors, including the following:

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General residents (i.e., not linked to a specific economic activity) (n = 4);

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Travel/excursion agencies (n = 1);

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Restaurant businesses (n = 2);

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Museum activity (MuT) (n = 1);

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Grocery stores (n = 1);

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Retail businesses (n = 2);

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Fishing tourism (n = 2);

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Hospitality facilities (n = 2).

The research group intentionally chose not to involve policymakers or institutional representatives. These stakeholders are typically associated with governance-oriented perspectives, which might have overshadowed the more spontaneous, community-driven narratives provided through photovoice. Moreover, they expressed interest in the outcomes of the research: for this reason, they could not be considered suitable participants, as their pre-existing knowledge could influence their contributions.

The study sample covered an age range of 18 to 66 years, corresponding to the working age population in Italy. Given the small number of participants and the link to economic activities in Stintino, as well as their professional activities, the research group considered it ethically appropriate not to disclose information regarding gender in this work.

3.4. Data Collection

After a training session on the photovoice objectives and methodology, participants were asked to take a series of photographs that, from their personal perspective, would represent the true heritage of Stintino. During the training, particular attention was given to the potential divergence between the widely promoted image of Stintino—shaped by institutional communication channels and popular among tourists—and the perspective of the local community, which holds direct, lived knowledge of the territory and its traditions. Participants were then encouraged to document the aspects of Stintino they felt were most meaningful and representative of the place’s identity. The prompt guide was written in the following brief and straightforward text:

“Take 10 photos to narrate the reality of Stintino to a potential tourist. Consider your shots as ‘a showcase’ for your place as an authentic destination.”

To ensure that photos were as instinctive as possible, each participant was provided with a Kodak Power Flash disposable camera equipped with a roll of film and with no chance to preview the shots. The aim was to prevent the common practice of using smartphones, which often leads to the deletion of esthetically weak photographs. So, the objective was to promote an instinctive and unfiltered photographic process, consistent with the photovoice participatory approach, highlighting the meaning attributed by the beholder. Accordingly, participants were encouraged to focus solely on capturing moments and scenes that resonated with the spontaneity of the instant, adhering to the principles of ethnographic research. Before starting the fieldwork, participants were given instructions on how to use the camera.

3.5. Data Analysis

Photograph analysis was carried out through a preliminary categorization based on grounded visual analysis [89] and adapted to a research perspective focused on local identity. Focusing on perceived landscapes and place identity [90,91,92] and in keeping with studies on coastal heritage and the tension between tourism valorization and everyday lived experience [93], the following criteria were identified:

• Symbolic and emotional value attributed by residents;
• Function of the represented place;
• Tourist iconization related to the imagery of mass tourism.

Table 1. Categorization of participants’ photographs. (Authors’ elaboration.)

Category	Description	Theoretical Framework
Landmark	Recognizable components of the urban or natural landscape	Symbols linked to territorial identity [91,92]
Port	Spaces related to maritime activity and fishing tradition	Cultural image/heritage connection [95,96]
Seascape (La Pelosa beach was excluded)	Sea landscape not associated with the mass tourism destination	Lived landscape [97,98]
Activities (e.g., sport, culture)	Daily life and/or local events	Social use of space [99,100,101]
Other (e.g., street, non-immediately recognizable landscapes)	Less codified landscapes	Local gaze [38]
La Pelosa beach	Iconic tourist image	Overexposure/over-commodification [49,102,103]
Asinara island	Proximal famous tourist attraction not included in Stintino municipality	Perceived liminality [104,105]
Objects (e.g., souvenir)	Items and/or tourism-related objects	Mediators between local identity and global consumption [106,107]

reports the categories identified for the analysis. These were developed through a discussion between two members of the research team: one residing in Stintino, with direct and situated knowledge of the context (i.e., insider viewer), and the other from a different background, aiming to provide a broader perspective (i.e., outsider viewer). This approach was intended to achieve a perspective that was both generalizable and culturally grounded in the specific case study, adhering to the principles of investigator triangulation [94].

The photographs were collected in May 2024. The last step of data collection consisted of a group discussion session conducted in a public space provided by the municipal authorities of Stintino (i.e., the MuT building). This choice is part of the photovoice methodology, and the group discussion took the form of an unstructured focus group. The event took place on 8 June 2024, during the European Maritime Day (EMD). Participants were invited to collectively view and comment on the photographs they had taken, selecting and discussing those they considered most meaningful in relation to their perception of Stintino as place identity-based destination. The researcher acted as a facilitator, limiting intervention to recalling the objectives of the study and encouraging reflection in order to maintain the bottom-up and participant-led nature of the process. Emerging themes were identified and categorized to interpret the participants’ territorial narratives. Finally, participation was limited owing to the start of the summer tourist season. The participatory and shared interpretation of the results was therefore extended in the following weeks through meetings with the participants, using unstructured interviews (i.e., open-ended conversations in which the interviewee–participant was encouraged to share their reflections with minimal interruption from the interviewer–researcher) as a method consistent with the photovoice approach [63]. Such dialog informed the interpretation of the individual photographs, which emerged collaboratively with participants and is detailed in the Results section.

The photographs were produced by participants using disposable cameras, in accordance with the principles of the photovoice methodology. Thus, they do not conform to conventional standards of photographic resolution, composition, or esthetic refinement typically associated with professional visual material. Within the framework of participatory visual research, these photographs are not merely illustrative but constitute primary qualitative data, capturing the subjective viewpoints, lived experiences, and meaning-making processes of the participants. To preserve the authenticity and epistemological integrity of the data, the images were not digitally enhanced beyond minimal adjustments related to formatting and presentation.

3.6. Ethics

Participants were recruited on a voluntary basis, following an initial presentation of the research project to local municipal authorities (including the mayor and the tourism office). Only adult participants were included, with exclusion criteria limited to diagnosed neuropsychological conditions. Each participant provided written informed consent, having been fully briefed on the purpose of the study, the procedures involved, their right to withdraw at any time, and the intended academic use of the photographic material. All images were produced and shared with the researchers with explicit permission for publication, under the condition that anonymity would be preserved, and no recognizable individuals would appear in any disseminated content. Data were processed and reported in aggregate form. No risks or discomfort were anticipated or reported.

4. Results

The participants submitted a total of 145 photographs. Following a data refinement process (discarding blurred or excessively dark images and photographs with unidentifiable objects), a total of 128 photographs were finally considered and analyzed. The pictures were then systematically categorized by two different researchers (Figure 4). It was immediately evident that participants primarily selected photographs highlighting identifying aspects of Stintino’s coastal reality while largely disregarding the most tourist-frequented locations and the Objects category. This suggested that participants would not prioritize such elements when narrating or representing their sense of place, even in the case of tourism promotion.

4.1. Maritime Identity

The preliminary categorization highlighted the predominance of a narrative centered on landmarks and the port area; it also suggested the need to depict a seascape different from the most touristically renowned La Pelosa beach. Overall, these results suggested a strong attachment among residents to the visual markers of local identity, evoking a lived-in landscape. The port, in particular, serves as a memorial of the village’s maritime heritage, representing both a functional and symbolic space. The considerable number of seascape photographs that excluded La Pelosa further suggested an emotional connection to the everyday coastal landscape, distinct from the iconic and standardized imagery promoted by mass tourism. Residents recognized the seascape as part of their daily life rather than as the postcard-like image conveyed by seasonal tourism.

Landmarks consisted of territorial objects with a specific location, serving as reference points for spatial exploration as well as visually salient and fundamental elements of the cognitive geography [108]. Their significance lies in the correlation between navigation and emotional states, as they convey cross-modal information that influences memory and spatial learning [109]. The interaction between physical spaces, emotions, and cognitive mapping is a current area of research on geolocation experiences and the meaning of places, demonstrating the strong role of emotional attachment to landmarks [110]. Such fixed reference points play a crucial role in shaping place storytelling, particularly when they convey identity-related meanings. The role of landmarks may underscore a perception difference between locals and tourists, as their interpretative paths often diverge.

Overall, in this study, the data suggested a strong local relationship with the port environment (a recurrent subject in the photographs) and, consequently, fishing-related activities. Consequently, landmark and port categories were strongly connected. An example was the landmark represented by an old lighthouse (Figure 5; six photos), which, according to local testimonies, was built between the 1940s and 1950s to signal the Port Mannu for fishermen during the night, since electricity was not yet available in the village. At the top of the structure, a flame (likely acetylene-based) was maintained within a protective glass enclosure. The lighthouse was, and still is, equipped with a door and an internal staircase.

Another emblematic landmark was a mural depicting a man working near a small boat (Figure 6; one photo). Residents immediately identified it as a tribute to a master shipwright from Stintino, whose craft was dedicated to the construction and refinement of the traditional gozzi boats used by local fishermen [111]. Specifically, the tribute is dedicated to Giuseppe Benenati, affectionately remembered by the local community as Zio Peppe, the last master shipwright of the town (who passed away on 12 September 2000, at the age of 94) [112,113]. The placement of the artwork was not a casual choice: the master shipwright often worked in the area directly below the mural, where a small beaten-earth workspace once stood.

The connection between the location and its fishing activities is also reflected in another mural (Figure 7; five photos), created approximately 15 years ago to symbolize and commemorate tuna fishing, which once took place at the Tonnara located near Stintino. This site served as a shared workplace for many local fishermen in the past.

Another recurring element was a series of seemingly unrelated sculptures (Figure 8; five photos), such as a face at the entrance to the municipality and the tail of an aquatic creature within the port. However, the local community demonstrated a clear awareness of their origins, recalling a sculpture symposium organized around 2017 and 2018 by a secondary school teacher. The initiative was part of a broader project intended to create a nativity scene, which also included Sardinian masks displayed in the port area (Figure 9). Ultimately, the sculptures were deemed unsuitable for their original purpose and were repurposed as decorative elements throughout the village. Such a case represents an instance of local knowledge inaccessible to naïve visitors, as it remains part of the collective memory shared within the Stintino community.

The sculptures are tributes to the tradition of vela latina sailing as well (Figure 10; six photos). This sailing technique, passed down for centuries, has become a symbol of Stintino to which the previously mentioned Regata della Vela Latina is dedicated [114].

In sum, the local community possesses a conscious and shared understanding of the origins of their place/landscape, and any form of intervention tends to resonate with deeply rooted symbols. The community can offer visitors heritage-driven storytelling that is not immediately accessible to outsiders, leading to the recognition of several local attractions.

4.2. Everyday Life

The Activities category included photographs primarily depicting food consumption in restaurants located in the port area. However, it also featured other contexts; for instance, some images captured a tennis court, which participants indicated is frequented by locals. The choice to include such scenes reflected the desire to encourage tourists to engage in activities beyond seaside tourism, highlighting the availability of spaces where physical well-being and social interaction are possible. Of relevance are the images featuring the MuT, which could also considered as a key cultural landmark within the fishing village.

The Other category, on the other hand, emphasized fewer central views, often depicting natural surroundings located away from the main streets. According to participants, these images represent a different and less commercial side of the village. Participants also stressed the importance of fostering tourist interaction with the local community to gain a deeper understanding of Stintino place identity.

4.3. Overtourism Resistance

The present study also aimed to confirm what tourism studies have highlighted regarding the potential divergence between tourism imagery and locals’ interpretation of place. This divergence stems from the fundamentally different meanings that the territory holds for these two groups: while tourists seek in the space a context for leisure and temporary escape, residents experience it as the setting of their everyday lives [30,115]. In the field of landscape research through photography, one of the key components typically emphasized is the perspective. This element captures the subjective dimension of the observer–photographer, who chooses to include a specific aspect of the environment through a deliberate framing decision [67].

The divergence between the perspectives of residents and visitors was particularly evident in how seascapes were reported in the photographs. A pivotal example was represented by the contrast between La Pelosa (Figure 11) and other coastal landscapes, such as Cala Coscia di Donna, highlighting the differences in how locals and tourists experience and interpret space (Figure 12).

Focusing on the variation in perspectives highlighted the embodied role of the observer. The two images of La Pelosa demonstrated perspective choices that, in the closest approach, positioned the subject at the beginning of a descent toward the beach without stepping onto it. In the other image, the perspective was highly distal, taken from above to highlight the prominence of the Torre and the panoramic view of Piana Island and Asinara Island. In contrast, the photograph of Cala Coscia di Donna clearly placed the beholder within the landscape itself, suggesting an exploratory intent. It is important to note that, during the data gathering, access to La Pelosa beach was still unrestricted, ruling out any influence of entry limitations on the framing choices. Thus, the different perspective suggested that La Pelosa was photographed without a significant desire for inclusion, but rather as a widely recognized tourist attraction, emphasizing its visual grandeur. This interpretation was confirmed during the interviews with the participants who had taken photographs of La Pelosa: all of them agreed that they chose to include La Pelosa in their pictures solely because of its reputation as a famous tourist destination. They also claimed not to consider it as representing the true essence of Stintino during the high season, viewing it instead as a place whose beauty is diminished by overtouristification. During the focus group and interviews, participants explicitly claimed they avoided La Pelosa during the summer, considering it overcrowded with tourists and disconnected from the place essence; moreover, they generally agreed that the overwhelming concentration of tourists at La Pelosa overshadows their town’s cultural identity, which they perceive as far richer and more diverse than a mere seaside attraction. One participant, supported by others in the group, stated,

“La Pelosa is part of Stintino, but every summer it’s taken away from us by the tourists… We Stintinesi [authors’ note: Stintinesi refers to the people of Stintino] don’t recognize ourselves in that overcrowded context—Stintino is so much more than that. The beach becomes ours again in autumn—we look forward to it every year!”

Overall, La Pelosa did not evoke in the locals the same emotional proximity that is suggested in the image of Cala Coscia di Donna. Similarly, the few photographs of Asinara Island also included views of La Pelosa. Participants reported perceiving the two as a single entity, recognizing them as “simply the most famous tourist destinations”. On the other hand, all the other photographs captured an essence that a tourist can only grasp through dialog with residents of Stintino. A pivotal example was the facade of a residence featuring a photograph of a Stintino resident who worked as a fisherman at the Tonnara (photographed by participants). This is an example of the Gente di Tonnara project, which pays tribute to the men and women involved in the Tonnara industry, from the capture phase to the processing stage [116] (Figure 13).

5. Discussion

Overall, the present study aimed to reaffirm the important role that local residents play in tourism promotion and related governance strategies [30,117,118]. It has been widely acknowledged that photography-based visual methods could elicit place-based meanings and reveal discrepancies between lived experiences and externally constructed representations. Due to their intrinsic spatial embeddedness, photographs offer a degree of contextual specificity that abstract forms of questioning often fail to achieve [70,119,120]. The findings revealed a perceptual gap between the dominant representations associated with Stintino’s local community and those associated with mass coastal tourism. The case study of Stintino resonates with interests and policy debates concerning Mediterranean coastal destinations [121]. Recent research has highlighted the issue of unregulated tourist flows on both environmental and social systems, impacting upon the environment as well as place identity [122,123,124,125]. It has been demonstrated that mass tourism contributes to the heritage marginalization in Mediterranean sites, as local identity and historical assets are increasingly subordinated to seasonal demands. In Italy, Venice offers an example of a place where overtourism has led to population decline, heritage commodification, and tensions between conservation and economic interests [126]. Mediterranean coastal areas represent case studies of contexts requiring a rethinking of the theoretical and methodological frameworks applied to destination development, highlighting potential governance challenges in managing tourism and heritage conservation [127]. Another example of potential conflict between heritage and tourism is provided by the case study of Marsaxlokk (Malta), which, similarly to Stintino, is a Mediterranean fishing village. In that context as well, heritage was found to be at risk, highlighting the need for a governance framework capable of ensuring long-term sustainability [128]. Such a scenario led to a focus on local ideas of destination, which can diverge from the tourist idea. The concept of the tourist gaze [49] emphasizes the selective and often superficial lens through which tourists engage with destinations, prioritizing esthetic appeal and symbolic elements over deeply rooted local knowledge. As a result, the resulting DI often reflects the perspective of outsiders while neglecting that of insiders—an imbalance that has negative implications for destination planning [30,31]. In this regard, photographic practices can be particularly useful in highlighting such dissonance [47,49], allowing for an analysis of what—according to the local community—should be communicated to visitors who are genuinely interested in the identity of the place.

5.1. Reclaiming Heritage Narratives

While visitors overwhelmingly focus on La Pelosa beach, locals highlighted a narrative centered around the village heritage, covering fishing traditions and cultural landmarks. This relationship is evident in the historical role of fishing, which is not merely an economic activity but a symbol of community cohesion and cultural continuity [129,130,131]. The photographs collected in this study reflected this attachment to maritime life, emphasizing landmarks such as the old lighthouse, murals honoring tuna fishing, and symbols of the town’s shipbuilding heritage. These elements, largely absent from tourist-oriented representations, demonstrated how the true Stintino lies beyond La Pelosa. The Cooperativa Pescatori (i.e., Stintino’s fishing corporation founded in 1904, which is still active today and is the oldest such corporation in Italy) remains a stronghold of Stintino’s identity, reinforcing the community’s resilience in preserving its heritage. In Stintino, fishing persists as a marker of tradition: the use of traditional tools and knowledge of the fishing zones confirm that local life remains connected to the sea, despite modern challenges [131].

5.2. Conflicting Perceptions

The way La Pelosa beach was framed in residents’ photographs further supports the idea that touristic and local perspectives differ significantly. Unlike other locations, La Pelosa was photographed from a distance, without direct interaction, suggesting that locals perceive it as an external attraction rather than an integral part of their identity. This contrasted with images of Cala Coscia di Donna, where the photographer was immersed in the scene, demonstrating a sense of belonging and exploration absent from the images of La Pelosa. This distinction could underscore a major issue in Stintino’s destination identity: the dominance of mass tourism attractions often overshadows the deeper cultural and historical identity. The official tourism narrative (shaped by external perceptions) seems to prioritize the scenic appeal of La Pelosa over authentic community knowledge. To the contrary, significant cultural markers such as the fishing heritage, shipwright traditions, and the role of the tonnara remain underrepresented in tourism promotion strategies. Perhaps the most striking omission from tourist representations is the history of the Tonnara Saline [130,131,132], once one of the most important tuna fisheries in the Mediterranean. Integrating community storytelling into tourism promotion is thus strongly recommended, providing participatory mapping, digital archives, or interactive visitor experiences that highlight Stintino’s fishing legacy. This can ensure that the voices of the community are not overshadowed by commercial tourism interests.

The photographs conveyed a territorial narrative deeply rooted in local lived experience, oriented toward the valorization of symbolic, relational, and everyday spaces, often in contrast to the dominant tourist imaginary. The emerged image of Stintino is a complex space, where the Genius Loci is expressed through practices and perspectives capable of restoring the landscape’s depth and meaning. This study reinforces the idea that the heritage of a place should not be separated from its people, as true identity is communicated through those who live and shape a place every day [133]. The residents of Stintino confirmed a strong attachment to their unique history, and any future tourism development strategies should not only acknowledge but actively incorporate their perspectives. Only through a bottom-up approach can Stintino maintain its authentic identity, balancing touristic appeal with cultural integrity.

In sum, as a participatory visual method, photovoice allowed the local community to document and reflect on their lived experiences through photography. In a destination planning scenario, photovoice can offer a powerful means to incorporate local perspectives into tourism development processes, as it enables residents to identify and communicate place-based values, critical issues, and opportunities. Thus, photovoice fosters empowerment, co-creation of knowledge, and community-driven narratives that can inform more inclusive and sustainable destination governance [134,135,136,137].

6. Conclusions

The presence of attractions deeply embedded in large-scale tourism dynamics raises important considerations regarding the formation of destination identity, particularly questioning how much of the local identity remains within it. In the case of Stintino, its proximity to La Pelosa beach and Asinara Island exposes the municipality to a significant tourist influx, which does not always align with the perspectives of residents. The visual research methodology proposed in this study suggests the need for a strategic intervention to reconcile the touristic storytelling promoted through official channels with the authentic, community-driven narrative. A conflictual relationship between stakeholders (in this case, between residents and tourists) can weaken the destination itself, turning it into the site of a debate over territorial preservation and communication, rather than aligning it with the seasonal tourism narrative. The local community of Stintino demonstrated a distinct identity, recognizing themselves as potential actors in a further narrative through the creation of community maps, which is feasible only through a bottom-up approach.

This study has certain limitations. First, while photovoice is a valuable tool for community engagement and participatory research, it typically relies on very small sample sizes, limiting the generalizability of the findings. Moreover, although our qualitative categorization of the photographs provided meaningful insights, a more in-depth visual analysis is recommended, possibly integrating quantitative or mixed-method approaches to further strengthen the interpretation of the images and expand the analytical framework. Also, the photovoice does not engage in formal semiotic or socio-spatial image analysis, as its primary aim is to foreground participants’ own interpretations of place. While more structured analytical approaches (e.g., esthetic evaluation scales, embodied perception surveys, and computational methods for image processing [46]) could have been employed, these fall outside the participatory and qualitative framework of this research. While this study explored the perspectives of the local community and implicitly suggests the need for more inclusive governance practices, it did not translate these insights into an operational framework. However, this gap is currently being addressed in our ongoing research, which is grounded in a user-centered design approach. Further research is aimed at developing a technological tool for tourists that can foster a more informed and respectful perception of Stintino’s cultural heritage through data collected and shared with the local community, also promoting environmentally and socially sustainable practices. As part of the ongoing collaboration with local authorities in Stintino (e.g., the Mayor’s Office) and in line with this study’s results, the research team is currently supporting the development of thematic itineraries through a bottom-up participatory process. These itineraries will be co-designed with residents and structured around locally rooted narratives that reflect the community’s cultural heritage. The initiative includes the creation of a community map, serving both as a planning tool and as a medium for promoting alternative, resident-driven tourism experiences. Local stakeholders will be actively involved not only as community members but also as entrepreneurial actors (e.g., restaurateurs, accommodation providers, and cultural operators) who will contribute to the design and delivery of the itineraries. In order to enhance accessibility and engagement, the applied research will provide multimedia communication strategies, including the integration of phygital tourism solutions (i.e., hybrid experiences that combine physical space exploration with digital content, such as geolocated narratives, QR codes, and interactive elements). These tools could support policymakers and tourism stakeholders in designing more inclusive and sustainable place-based tourism strategies. With such an approach, the study can be aligned not only with the framework of SDG 11—as discussed in the Introduction—but also with SDG 12 (Responsible Consumption and Production), which promotes responsible consumption and production patterns. Specifically, it aligns with Target 12.b, encouraging the development and implementation of tools to monitor the sustainable development impacts of tourism that foster local culture and products.

Although policymakers and local institutions were not directly involved in this phase of the research as participants (for the reasons mentioned above), the findings were intended to provide them with valuable insights for future governance strategies. The perspectives gathered through the photovoice method offer a grounded understanding of how residents perceive and value their territory, which can inform more inclusive and community-oriented policymaking. A place’s heritage can only be truly conveyed through the people who inhabit it, especially when communicating the meanings of an inner area destination. By incorporating the narratives and visual perspectives of residents, destination management can shift from a single-attraction focus to a holistic representation of Stintino’s identity, ensuring that cultural heritage, local history, and community voices remain central to the tourism experience.