Museum Blockbuster
Passage Your note
A Blockbuster is a trendy term that has
been used since 1980. The term represents
the art gallery, science, or stunning museum
displays. Elsen in 1984 stated that a
blockbuster is a large-scaled display that
attracts crowds that would otherwise not visit
museums. These people wait for long hours
to view the objects. James Rosenfield wrote
in 1993 in Direct Marketing that blockbuster
exhibition success is the success of
marketing and curatorial prowess. A
blockbuster can be understood as a famous
and prominent exhibition that is only
displayed for a limited time. The blockbuster
definitions by Rosenfield and Elsen overlook
the fact that crowds are ready to part with
money for a chance to view the blockbuster.
Their definitions also ignore the fact that a
blockbuster applies to movie exhibitions.
B Giving a movie or an exhibition the name
blockbuster does not mean that they indeed
are. The term blockbuster can only be validly
used if the item had tremendous response
and success from people. Literature items
from the USA and UK apply the word
blockbuster for non-elitist, less scholarly, and
popularist purposes. The argument by critics
is that the design of blockbusters aims to
attract the public. Some blockbusters attempt
to inspire project cooperation from scholars
and offer displays that cover a wide spectrum
of society, instead of the limited privileged
sector.
C New museology is a means
implemented to sustain and grow the number
of visitors. This can only be achieved through
continuous product growth. The growth must
not be limited to the formation or contracting
of blockbuster displays but rather regular
changes in innovations and exhibitions.
Blockbuster visitors are becoming customers
instead of normal visitors. The skills applied
in museums, galleries and science centres to
attract more customers are changing.
Entrepreneurial qualities, marketing and
business skills top the requirements list.
Curators have become managers. To become
an art gallery director today a degree in art is
not necessary. The 1994 Economist
summarised it best by stating that skills in
public relations and business intellect, and
their capacity to contend with rival museums
to offer traveling displays that attract
multitudes, were fundamental requirements
for the director.
D As a result of new museology, museum
tours, cultural industry, pleasure-giving, and
profit-making have received wide coverage.
This has created great debate concerning the
suitability of acclimatising institutional
activities to closely demonstrate marketplace
priorities and understanding of whether it is
okay to view museums as principally tourist
attractions. While commentators think
science centre, art galleries, and museum
managers globally seek clever avenues to
merge commerce and culture, blockbuster
displays are still leading the way. Although
blockbusters are components of new
museology, you do not require an art gallery,
science centre, or museum to gain
blockbuster power or present a blockbuster.
E The question is whether blockbusters
staged in an institution can generate the
surplus needed to finance other initiatives. If
the goal is to make a profit, then numerous
major galleries and museums have
demonstrated that ability. Some museums
may need money to restore some of their
collections or repair the buildings. Some
Australian museums and galleries seek the
chance to demonstrate their attempt to
recover some of the costs of operation, or
finance other initiatives with the revenue that
was not budgeted for. This will make
economic rationalists merry. Some exhibitions
acclaimed as blockbusters are really not.
Some fail to generate revenue. Most
accounting systems in institutions will most
likely not acknowledge the actual costs of
contracting or creating a blockbuster.
F Huge capital expense is required for
blockbusters as they require resources from
all organisational branches. There are more
costs involved. Apart from the huge capital
investment, the cost of managing the human
resource adds to the actual costs. Touring
exhibitions entail huge expenses. They also
require resources from various structures of
management in the style of project
management. Every person, including the
service unit, general laborer, education,
technical, administrative and front house
personnel is expected to do more errands. As
Australian institutions seek to grow their
visitors and members for better revenue
through blockbuster displays, there are fewer
chances that a surplus will continue for
subsidising other initiatives owing to the level
of competition in the market. The resources
from customers are limited and blockbuster
visitors will have to choose between products
from various blockbusters.
G The unfortunate thing is that when
bottom lines become the fundamental
objective of blockbuster displays, it becomes
very difficult to sustain the results. Institutional
personnel are getting exhausted in the
process of hiring and creating blockbusters
and the actual costs in the entire institution
are hard to calculate. On the other hand, the
hiring or creation of blockbusters can have
many positives. For instance, a famous
blockbuster can raise an institution's profile,
making the perception of the museum more
favorable. Blockbusters boost the economy
by adding employment opportunities for
restaurants, hotels, retailers, transport
industry, and shops although they subject
staff to stress and the unpredictability of the
market. Blockbuster achievements or failures
are likely to demonstrate the requirement for
policy-makers and managers to reconsider
their approach. Nevertheless, the trend in
favor of blockbusters and new museology will
probably make art galleries, museums, and
especially science centres be perceived as
components of the tourism and the
entertainment industry instead of as icons of
culture that merit philanthropic and
government support.
H Maybe the best route is to offset regular
exhibitions and blockbusters. The middle
ground is only likely to work if there are ample
space and alternative funding sources to
further the support of less thrilling exhibitions.
To ensure exhibitions and regular initiatives
are more inviting, it is essential to seek what
locals want more from an exhibition. Most
people seek to visit overseas venues
(science centres and museums) that are
cost-effective.
Questions 1-4
Reading Passage 1 has eight paragraphs, A-H.
Which paragraph contains the following information?
Write the correct letter, A-H, in boxes 1-4 on your answer sheet.
1. A summary of the outlays required to run a blockbuster
2. A description of the qualifications required to run a gallery today
3. A contrast between the benefits and drawbacks of blockbusters
4. Mention of the fact that artistic and cultural venues are unnecessary for displaying
blockbusters
Questions 5-8
Complete the summary below. Choose NO MORE THAN THREE WORDS from the passage for
each answer. Write your answers in boxes 5-8 on your answer sheet.
A blockbuster is a show or an event run by a gallery and generally lasts for (5)
__________________. With the adoption of (6) __________________ as a key to increase
visitors, there is an increased focus on blockbusters. One possible benefit is that these events
may provide a financial (7) __________________, which can fund less profitable aspects of
their organisation. However, presenting blockbusters and promoting new museology can
change certain sites from being (8) __________________ to mere entertainment venues, thus
cutting the support from charity organisations and the government.
Questions 9-10
Choose TWO letters, A-E.
Write the correct letters in boxes 9-10 on your answer sheet.
Which TWO factors mentioned in this passage motivate museums and institutions in Australia to
run blockbusters?
A They may offset the spending on day-to-day maintenance and administration.
B They help museums to expand collections.
C They promote the advancement of science among the public.
D They encourage investors to create partnerships with them.
E They can aid in achieving further profit targets.
Questions 11-13
Choose THREE letters, A-F.
Write the correct letters in boxes 11-13 on your answer sheet.
Which THREE of the following statements are criticisms against blockbusters in this passage?
A Attendees are now treated as customers rather than as visitors.
B Cultural centres now belong to the entertainment industry.
C Blockbuster events are not academic enough and generally appeal to the majority.
D Managers must readdress their approach to running a public space.
E Blockbuster events add considerable pressure on employees.
F The cost of running a blockbuster event is high.
