Museum Blockbuster
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 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 exhibition.
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
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.
9- 10
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.
11- 13
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.
