二次大戰之後，好萊塢電影產業的組織形式轉變為專案制度，每個專案就是一部電影的製作團隊，並且由一群專業人士組成；而在共同完成一部電影後，專案即告結束，這群成員也隨之解散。以專案為基礎的組織，為了促成專案間知識的流動與組織學習，必須倚靠參與專案的個人將專案的知識傳遞出去，使知識不會因為專案團隊在任務達成後解散而也隨之消逝。所以，個人過去的專案經驗對於未來所參加的專案而言，都是很重要的資源。

對於電影產業而言，一部電影是否能夠提供觀眾創新的體驗，重點即在於這群合作的專業人士能夠為專案帶來多少創意能量，但是創意並非只是個人特質，創意會從個人所處（鑲嵌）的社會情境、與他人的互動之中所產生。因此每個電影團隊都可以被視為一個社會網絡，而團隊成員因為加入了團隊，便成為了網絡中的行動者，並與許多不同的個人建立合作連結而產生社會關係。

既然個人所累積的過去專案經驗亦會影響他對於未來參加專案的貢獻，所以本研究即從社會網絡理論出發，結合專案成員的過去經驗，探討電影專案成員過去所參與團隊網絡的關係型態，會如何影響個人的創意能力，並且最後如何影響專案的創新績效，也就是電影票房。本研究並進一步將成員的過去專案經驗區分為兩部份，一部分為電影團隊成員間過去的重複合作情形，另一部份為成員在團隊網絡外部的過去重複合作情形。研究結果發現，團隊成員間過去的重複合作情形對於電影創新績效在統計上並無顯著影響；至於成員在網絡外部的過去重複合作情形則是在電影創新績效上有一倒U型的影響，顯示成員在網絡外部的過去重複合作情形在一個最適中的狀況下，成員會有最好的創意表現，也才能產製出較為成功的電影。

吳佳珍（2005）。《社會網絡結構與組織創新績效—以電影產製組織的知識傳遞為例》。台灣師範大學大眾傳播研究所碩士論文。
鄭沂珊（2002）。《美國電影票房影響因素之探討—奧斯卡與金球獎的影響力》。台灣師範大學大眾傳播研究所碩士論文。
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