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Part III. Digital Media and Storytelling in Research ] 97 the psychological-emotional and narrative-related film experiences the recipients had (Balint, Tan & Doicaru, 2014). Oliver and Hartmann (2017) also undertook a questionnaire-based investigation of film experience, asking their subjects (n = 271) why a film was particularly meaningful or enjoyable for them. Analysis revealed that melodrama and comedy were the genres most frequently cited. The respondents provided self-reflections from which the researchers were able to identify basic emotion types. It was found that the most identifiable emotions when watching a film were happiness and sadness, but feelings of compassion and anger were also identifiable from the responses (Oliver & Hartmann, 2010). The expression narrative transport refers to the phenomenon through which the narrative transports the recipient into another mental sphere, placing them within the storyworld at the time of reception. During such an experience, the receiver forgets the space-time relations of his or her real environment. The phenomenon is based on the cognitive (i.e., attentional and imaginative) and emotional processes of the receiver, which can be measured by the 15item, 7-point Likert scale questionnaire entitled the Transportation Scale (Green & Brock, 2000). The degree of transportation can be influenced by a wide range of background variables related to the recipient (e.g., biological and sociocultural factors), as well as by narrative elements of the text (e.g., techniques of plot development or character portrayal). Experiencing through transportation and identifying with the protagonist can also lead to changes in the recipient's attitudes and beliefs (Fitzgerald & Green, 2017). Immersion in the storyworld was investigated in a large sample (n = 500) by Dixon and Bortolussi (2017), who asked participants questions about their most recently read novel. A structural model of the responses revealed that the emotional response during reading influenced narrative transport, and the generation of emotional response was strongly related to the extent to which the readings were connected to the recipient’s personal memories and the extent to which the storyworld felt realistic. The ability to recognize words, control eye movement and manage the functions of the reading center present in the left hemisphere are all biological prerequisites for immersion in literary texts. However, many more areas of the brain are activated during reading, including the performance of complex operations such as recognizing words, interpreting what is read, forming hypotheses and identifying plot events through patterns and scenarios (Jakobs & Lüdtke, 2017). Affective neuroscience uses films to study the unfolding of emotional experiences over time as well as the emotional aspects of film reception. The combined use of cinematic tools of expression and genre conventions elicits an emotional brain response which can be measured by MR examination and analyzed by quantitative methods. Laboratory studies can investigate viewer responses to stimuli in dramatic film scenes. In one study, the brain activity of two subjects was compared while one subject watched a dramatic
