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Building on multi-perspectival research on narratives and responsibility ascriptions in the context of (past) collective violence and repression, I have developed the staged narrative analysis (SNA) to guide the systematic examination of complex and multi-layered narrative data in various research contexts. To introduce SNA in this article, I first discuss its development and then present its two components: 1., a flexible analytical framework to consider the content, structure, and context of storytelling by breaking down the analysis of narratives into the following dimensions: narrator, moment of telling, structure, and stories; and 2., a five-stage analytical procedure to enable an in-depth analysis of individual narratives from different data sources as well as a structured comparison between and across different perspectives. When presenting each of the five stages, i.e., orientation, setting the scene, zooming in, evaluation, and contrasting, I outline the techniques used applying my own empirical data as an example. Finally, I discuss the potential applications and adaptations of the SNA in other studies.

This article unpacks the production and impact of the Foley punch in David Fincher's Fight Club (1999) to theorize the sonic transmission of affect in cinema. It advocates transduction as a model for a soundtrack analysis that acknowledges the already-mediated nature of aural subjectivity and allows for authenticity in electronically mediated experiences.