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Movies critics believe that the diversity of Iranian cinematic genres has decreased over time. The paper aims to answer the following questions: What is the impact of the continuous cooperation between the key nodes on the audience's taste, uniformity of the cinematic genres and the box office? Is there any relationship between the importance of actors in the actors' network and their popularity?

In the artistic world, artists' relationships lead to a network that affects individuals' commercial or artistic success and defines the artwork's value. To study the issue that the diversity of Iranian cinematic genres has decreased over time, the authors utilized social network analysis (SNA), in which every actor is considered a node, and its collaboration with others in the same movies is depicted via edges. After preparing the desired dataset, networks were generated, and metrics were calculated. First, the authors compared the structure of the network with the box office. The results illustrated that the network density growth negatively affects box office. Second, network key nodes were identified, their relationships with other actors were inspected using the Apriori algorithm to examine the density cause and the cinematic genre of key nodes, and their followers were investigated. Finally, the relationship between the actors' Instagram follower count and their importance in the network structure was analyzed to answer whether the generated network is acceptable in society.

The social problem genre has stabilized due to continuous cooperation between the core nodes because network density negatively impacts the box office. As well as, the generated network in the cinema is acceptable by the audience because there is a positive correlation between the importance of actors in the network and their popularity.

The novelty of this paper is investigating the issue raised in the cinema industry and trying to inspect its aspects by utilizing the SNA to deepen the cinematic research and fill the gaps. This study demonstrates a positive correlation between the actors' Instagram follower count and their importance in the network structure, indicating that people follow those central in the actors' network. As well as investigating the network key nodes with a heuristic algorithm using coreness centrality and analyzing their relationships with others through the Apriori algorithm. The authors situated the analysis using a novel and original dataset from the Iranian actors who participated in the Fajr Film Festival from 1998 to 2020.

An earlier researcher, Wood, proposed that cinema is the most appropriate metaphor for interpretation of contemporary life and organizations. The paper adopts the enthusiasm for the cinema metaphor and explores the implications for industrial marketing and business networks, with particular reference to the Industrial Marketing and Purchasing (IMP) Group research.

The paper outlines the Cartesian picture theory of the early Wittgenstein, the comparable “pictures agenda” within the IMP, then the post‐Cartesian “language gaming” approach adopted by the later Wittgenstein, and associates it with an agenda to introduce a more “cinematographic” approach, introducing issues within the “linguistic turn” to the study of business networks.

The transformation of the contemporary “post‐Cartesian” culture from “written” to “visual” was not fully appreciated until the invention and mass appeal of cinema and the concomitants of a visual culture became more apparent. In the notion of the “spectacle”, Debord was amongst the first to show that the postmodern visual culture was one where social relations are dominated by commodified images. The images that prevail, from this critical viewpoint, are “social opiates” masquerading as progress that control actors through addictive consumption and acquisition by spectator consumers. In this context, business to business relationships are about how these image‐based addictions are maintained within business cultures.

The adoption of a cinematographic metaphor would appear to be a pertinent development for understanding of business network relationships.

The advantage of a cinematographic metaphor over other, less visual, metaphors is that cinema is more visually sophisticated and entirely embedded in cultures dominated by commodified images. It is appropriate, therefore, that visual literacy, realities as increasingly “image‐dominated” and “virtual” business networks are better understood through the lens of a cinematographic metaphor.

The understanding of leaders’ network centrality in social networks has been acknowledged as a major topic that can advance the social network field; most studies in this area have either taken firms as the subject by which the network centrality of firms was measured or/and have been conducted for the functional project context. Very little research has been done in the pure project context. This paper aims to revisit the centrality–performance link in the singular specialized project context.

The proposed relationships using panel data on 48 movie directors who lead pure projects has been studied. Freeman’s (1979) and Wasserman and Faust’s (1994) procedures have been adopted to compute our three centrality measures and their effects have been examined on box-office and artistic performance. A random effect and a mixed-effects Poisson model have been fit to examine the significance of the centrality–performance relationship.

The findings provide empirical evidence to support three out of the six hypotheses. The findings suggested that degree and closeness centrality are positively related to commercial performance and betweenness centrality is negatively related to commercial performance. However, it was found that only the degree centrality is related to artistic performance.

This study has two features that distinguish it from prior studies that link centrality to performance. First, the focus is on centrality attached to the leaders instead of the centrality attached to functional project teams or firms, as previously investigated. Second, this study is the first attempt of its kind to analyse the proposed relationship for an Asian market.

The aim of this chapter is a discussion of the post-modern shift towards symbolic economies as a substantial factor of transformation of urban public space. It argues that the shift towards a cinematic mode of production, in which production, distribution and consumption of images assume a dominant role in the social organisation, calls for a related cinematic urbanism analysing the prime role of cities as factories in the global system of symbolic production. The city of Florence is assumed as an exemplar case study, examining the way the symbolic productive chain develops towards the real and virtual domains. I argue that Florence represents an archetype of the cinematic city, anticipating since the renaissance the tendency towards global symbolic production as a dominant sector of its urban economy.

The purpose of this paper is to highlight the marketing challenges facing the Nigerian movie industry – Nollywood. The paper also attempts to make a case for due recognition to this multimillion dollar industry in management research as opposed to being pigeonholed in the domain of media, film or cultural studies.

The case study benefits from a mixture of survey questionnaires, in‐depth interviews and focus groups drawing on a range of themes from Nollywood's target audience in the diasporas over a three‐year period (2005‐2007).

Explanations for why African movies – as epitomized by the case of Nollywood – continue to lack box office appeal cannot be detached from the poor marketing‐mix strategies adopted – notably weak marketing communications and poor product quality.

The paper is restricted to a convenience sample of respondents and may arguably suffer from a weakness of generalizability.

Nollywood directors, producers, distributors, marketers and all other stakeholders must organize national, regional and international networks/networking events in order to guarantee the requisite forum for shared access, ideas and more importantly technology and technical know‐how. There is also the need for skills upgrading and more robust marketing communications.

This is the first major attempt to move the discourse of cinematic consumption away from the field of media studies to general management – notably marketing. The paper exudes of a powerful message – this is not just art, it is big business!

This study focuses on how the creation of a new market identity, defined here by the social categories that specify what to expect of products and organizations, helps legitimize normatively illegitimate products and thereby facilitate the formation of markets for these products. A product is given a legitimate market identity by recombining existing product and status categories in a way that is both isomorphic with and differentiated from these preexisting categories. I argue that the creation of a new market identity helped create a market for feature films that combined legitimate comedy and illegitimate pornography following the legalization of pornography in Denmark in 1969. Topological analyses of the cultural content of all the film posters used to promote Danish films between 1970 and 1978, and regression analyses of the status of the actors appearing in these films document the importance of market identity in legitimizing illegitimacy.