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Part III. Digital Media and Storytelling in Research ] 95 ones socio-cultural experience. Based on the theory of social representation, László developed a social-cognitive model of literary text comprehension based on Moscovici (1988), according to which meaning is created by the encounter between the text and the socio-cultural knowledge ofthe recipient (i.e., his or her social world knowledge, personal experiences, and literary meta-knowledge). Factors related to the reception of certain literary works can also be examined through content analysis of texts. László and Vincze (2001), in a content analysis of Géza Gárdonyis novel Egri csillagok ( The Stars of Eger), found that simplified gualities (e.g., knowledge, wisdom, or morality) appear in the actions that both promote identification with and reinforce Hungarian national identity. Transactive criticism is an approach that falls between literary theory and psychology whose key tenet is that the text cannot be interpreted in itself since the interpreter is actively involved in the construction of the texts meaning through the creation of transactive notes. Ihese notes represent subjective interpretations that cannot be independent of the interpreters psychic processes, personal life experiences, background, and identity (Holland, 1990). Not only is the text itself a narrative, but the receptive behavior ofthe recipient is also seen as a narrative system. 1his is supported by Larsens (1996) cognitive psychological reading theory, who investigated the factors involved in the recall of reading perceptions. In his study, he found that the reading experience presupposes the recipients personal and receptive experiences. When the story of the reading is recalled, not only the content but also the circumstances of the reception are evoked in the reader. Laszlo (1998), in his cognitive psychology study on the reception of literary texts, questioned whether genre classification is a barrier or a means of interpretability. Genre theory defines genres on the basis of similar stylistic and rhetorical features, and these attributes determine the quality of the text and its interpretability, which is strongly dependent on prior literary socialization. With genre knowledge, the interpretability of texts is also facilitated (Olson, Duffy & Mack, 1984). As in literary studies, research has been carried out on the reception of narrative in film studies as well.The impact of a literary work cannot be assessed during or immediately after its reception, as the reader usually processes the work in parts; however, this is possible in film studies, as films are normally viewed in one sitting. Vish and Tan (2014) investigated the factors that support film comprehension and found that, in addition to cultural, mental, and physiological processes, genre conventions also influence the reception of films. In their experiment, viewers interpreted the same content differently when it appeared in a different form and genre. Events and style are the most important features of genres. Empirical research in film studies focuses on the reception of films, with the main focus of the research often being on the experience of the recipient
