The risk of secondary traumatic stress in the qualitative transcription process: A research note.

Kiyimba, N. & O'Reilly, M., The risk of secondary traumatic stress in the qualitative transcription process: a research note, Qualitative Research (16:4) pp. 468-476. Copyright © Nikki Kiyimba & Michelle O'Reilly, 2015. Reprinted by permission of SAGE Publications.It is recognised that transcribing is not merely a neutral and mechanical process, but is active and requires careful engagement with the qualitative data. Whether the researcher transcribes their own data or employs professional transcriptionists the process requires repeated listening to participants’ personal narratives. This repetition has a cumulative effect on the transcriptionist and hearing the participants’ personal narratives of a sensitive or distressing nature, can have an emotional impact. However, this potential emotional impact is often not something which is accounted for in the planning stages of research. In this article we critically discuss the importance of considering the effects on transcriptionists who engage with qualitative data

Toward a History of Women Projectionists in Post-war British Cinemas

Cinema projection is usually understood to be a male-dominated occupation, with the projection box characterised as a gendered space separate from the more typically feminine front-of-house roles. Although this is a fairly accurate representation, it risks eliminating all traces of women’s labour in the projection box. Previous work by David R. Williams (1997) and Rebecca Harrison (2016) has addressed the role of women projectionists during wartime, and this article begins to excavate a hidden history of women projectionists in a peacetime context. The article uses oral testimony from two women – Florence Barton and Joan Pearson – who worked as projectionists in the mid-twentieth century. Their accounts are presented in the article as two portraits, which aim to convey a sense of the women’s everyday lives in the projection box, as well as think about implications that their stories have for our understanding of women’s roles in projection more broadly. Of particular significance to both Barton and Pearson are the relationships that they had with their male colleagues, the possibilities afforded for career progression (and the different paths taken by the women) and the nature of projection work. The women’s repeated assertions that they were expected to do the same jobs as their male counterparts form a key aspect of the interviews, which suggest there is scope for further investigation of women’s labour specifically in projection boxes and in cinemas more generally