جستجوی مقالات مرتبط با کلیدواژه « سینما » در نشریات گروه « مدیریت »

The purpose of the present study is to design and explain the purchase journey map of moviegoers based on contact points. In the first step, using the content analysis method, 29 indicators were extracted as the contact points of moviegoers in the three stages of the shopping trip, and based on that, a research questionnaire was designed. In the second step, quantitative approaches were used to investigate the statistical population. To describe the research population, 419 adult moviegoers were clustered and analyzed in two separate clusters using the Davis-Bouldin index. The results showed that in the first cluster, the pre-purchase stage (actresses and director's brand), during the purchase (sanitary facilities), and post-purchase (advice, silence, and bad-mouthing) contact points were most significant. In the second cluster, the pre-purchase stage (previous experience), during purchase (store quality), and post-purchase (information on upcoming movies) contact points were most significant. Naive Bayes was used to design the model predicting the audience return rate. The application of Naive Bayes showed that by using contact points, it is possible to predict the return rate of moviegoers in the first and second clusters with an accuracy of 0.910 and 0.814, respectively. The sensitivity analysis results showed that in the first cluster, the pre-purchase stage (cinema brand), during the purchase (personnel encounter), and post-purchase (discount for the next visit) were the best predictors of consumer behavior. In the second cluster, the pre-purchase stage (word-of-mouth advertising), during purchase (store quality), and post-purchase (handling complaints) were the best predictors of consumer behavior.

Global crises generally have two major effects on cinema: a group that boosts the business of this art industry and another group that brings it to the border of closure. Many social crises cause the closing of movie theaters, which has a significant impact on the business of the Seventh Art Industry; as we saw during the Corona epidemic, many countries in the world closed their movie theaters due to the gathering of people in order to prevent the transmission of the Covid-19 virus. This issue has had a huge impact on the sale of motion pictures and with the sharp drop in the market, many companies have introduced other ways to earn profits. There were even more problems in Iran. First of all, there is no studio system in our country. Some of the films are produced by the government and some privately. The works that are supported by the government are often not concerned about sales, and the works of the private sector, following the traditional production line, did not have the ability to create a security margin to pass the Corona period. During the epidemic, the country's cinemas were closed and it was even rumored that some theaters were rented out for official ceremonies and weddings in order to return the minimum fixed costs to the owner's account. The production of works went down and many old actors and actors of the cinema faced serious financial problems. The screenings were postponed and thus, the hands of the producers were left empty. No one knew what was going to happen and gradually, experimentally, our cinema learned how to save itself from the quagmire of such crises. But this happened at a heavy cost and did not create a suitable infrastructure and a modern and standard business model, and even now the situation has not returned to the normal state before Covid-19. The current research seeks to design a business model for the Iranian cinema industry in the situation of pandemic crises. For this purpose, the management of Iran's cinema industry, the basic challenges and opportunities of Iran's cinema in the field of management and business have been examined.

The present research is practical in terms of its purpose, and in terms of the method of data collection, it will be a description of the survey branch. Also, in terms of the research method, it is qualitative. Since this research was done on a real, objective and dynamic issue and its results can be used practically, it is an applied research. Using the snowball method, with 15 owners and managers of film businesses (including government cultural institutions, film production companies, broadcasting companies, institutions active in the field of film education and research, Video On Demands (VODs) and...) interviews have been conducted and the data have been analyzed using the MaxQuda software and the method of content analysis and descriptive and interpretive coding. In terms of formal validity, after designing the questions, a limited group of experts were consulted and their opinions were applied to modify the questions.

According to the results, the customers (audiences) of the cinema business, in both normal and pandemic situations, are the urban middle class. Filmmakers have turned to making TV series in the pandemic situation. Costs have not changed too much in the pandemic situation; but the salary of the actors has increased. Online screening on VOD platforms has been the main source of income during the pandemic, and the category of comedy and entertainment has been the most important value proposition of Iranian cinema.

Determining the business model as a strategic necessity in the cinema industry is very important to gain benefits.
One of the important factors in choosing a business model is the type of strategy that owners and stakeholders choose. In the meantime, the importance of marketing and identifying customer needs, market territory, and market share compared to competitors is significant. Although some of the interviewees admitted that Iranian cinema as a whole cannot be called an industry; Because cinema in Iran has not yet reached credit management in order to be able to evaluate customers' perception of its brand and improve the reputation of cinema and maintain the loyalty of the audience and receive feedback from them and achieve reputation and credit to form a competitive market and generate income. Achieving a favorable competitive position is realized only with a business model. It is a suitable business model that can offer more value to a group and bring more benefits to the company's owners and stakeholders. The results of this research showed that filmmakers in the Iranian cinema industry should reconsider their traditional business models. They can abandon the linear business model and adopt a new platform approach to their business. They can change many of their traditional methods of customer acquisition and retention to become a platform business that creates value through collaboration with partners and consumers. Although Iran's VODs and OTTs have improved the quality of their products, they are still far from modern serialization products such as works produced on Netflix; But due to the fact that many Iranians show interest in local content, a significant part of audio and video content produced in Persian is limited to the programs of these platforms, and many Iranians still welcome their productions.

Cinema is known as one of the main pillars of cultural, social and artistic development of any society. There are several motivating and preventing factors for different audience segments to go to the cinema, which can be used to improve the performance of movie theaters and attract more audiences. Therefore, the present study was conducted to identify the motivating and preventing factors in attracting different sections of cinema audiences. This research is a exploratory mixed method study. In the qualitative section, a conceptual model of effective factors in attracting cinema audiences was identified In the quantitative part, a questionnaire was developed based on the indicators extracted in the qualitative stage and was distributed among the citizens of Shiraz with a sample size of 389 people. In the next step, the respondents were divided into three sections using the Keynesian clustering algorithm and the motivating and preventing factors were identified in each section. Finally, the mentioned factors were prioritized using Friedman test and mean. Findings showed that "desire for entertainment, diversity and having a new experience" in the first cluster: "genre and subject of film" in the second cluster; and "cinema ticket price" in the third cluster, are the most important motivational factors. "tendency to other entertainments and hobbies" in the first cluster and "distance from the house to the cinema" in the second and third cluster were also identified as the most important preventing factors.

One of the most important problems of the policy-making process, especially the cultural policy-making process in our country, is the incorrect process of problem identification. The country's cinema policy-making system is not free from this major damage, and therefore in this study, an attempt is made to examine the issues facing Iranian cinema in the fifth decade of the Islamic Revolution, which must be addressed in the "cinema policy-making" process. In this research, first, the existing global researches in the field of cinema policy have been reviewed and an attempt has been made to extract world cinema policy issues from the perspective of these sources. Then, using the Grounded theory method the data obtained from some experts in the field of Iranian cinema policy-making are analyzed and based on this, a paradigm model of Iranian cinema policy issues in the fifth decade of the revolution is designed. At the end of the article, a comparison is made between the system of policy issues of Iranian cinema and world cinema.

The most important factors in group and individual migration, at least in the past two centuries, with a brief look at the immigration phenomenon have been factors such as war, poverty and unemployment. Although immigration can have very negative economic, social and psychological impacts for immigrant and their populations, on the other hand, it can have positive cultural, social and economic issues. This paper seeks to examine and investigate the effects and consequences of Afghan immigration. In this regard, over thirty years of presence of Afghan refugees in Iran has been attended by many movie maker and various films and serials have been made on this matter that have encountered with positive and negative reactions at the national and international levels. The subject of the research was to study the role of cinema in accepting and refusing Afghan refugees in Iran with an emphasis on Iranian cinema in the 2000s. According to its importance, Cinema, due to its impact on the minds of the community can act realistic in creating people's attitudes towards the acceptance of Afghan refugees by creating clear and positive images or themes or even conversely, as an informative tool.

Analytical-descriptive quantitatively and qualitatively as the spss method is used to express the data and analyze the survey. The main indicators of the statistical society include family, education, marriage, employment, government, residence and war.

The coding of research variables including personality, acceptance of self and others, social trust, lifestyle, social security, economic development, and policy making, based on the conceptual model of research have been done. Also, war is the most effective factor, based on observation and surveys, in accepting and refusing Afghan refugees, which seventy percent of people have referred to.

The 2000s cinema of Iran has played a role in accepting and denying Afghan refugees. Also, in ​​policy-making, it is quite evident, the lack of planning of the state and the law enforcement agencies in confronting with Afghan refugees.