Here is one of some existing definitions of a blockbuster: Put by Elsen (1984), a blockbuster is a “… large scale loan exhibition that people who normally don’t go to museums will stand in line for hours to see …” - What does "large-scale lone exhibition' most like mean?, A permanent museum collection owned by one institution, A small private display for researchers only, A big exhibition where items are borrowed from different places, A digital exhibition shown online only, What both Elsen and Rosenfield omit in their descriptions of a blockbuster, is that people are prepared to pay a fee to see a blockbuster and that the term blockbuster can just as easily apply to a movie or a museum exhibition. - What is the closest meaning of “omit”?, include, remove or leave out, explain clearly, emphasise, Detractors argue that blockbusters are designed to appeal to the lowest common denominator, while others extol the virtues of encouraging scholars to cooperate on projects and to provide exhibitions that cater for a broad selection of the community rather than an elite sector. - What does “appeal to the lowest common denominator” suggest?, A. Attract highly educated experts, B. Focus on complex academic ideas, C. Be designed for the simplest general taste, D. Target only wealthy visitors, Maintaining and increasing visitor levels is paramount in the new museology. This requires continued product development. Not only the creation or hiring of blockbuster exhibitions but regular exhibition changes and innovations. In addition, the visiting public has become customers rather than visitors, and the skills that are valued in museums, science centres and galleries to keep the new customers coming through the door have changed. High on the list of requirements are commercial, business, marketing and entrepreneurial skills. Curators are now administrators. Being a director of an art gallery no longer requires an Arts Degree. As succinctly summarised in the Economist in 1994 “business nous and public relation skills” were essential requirements for a director, and the ability to compete with other museums to stage travelling exhibitions which draw huge crowds. - What is the main idea of the paragraph?, Museums should focus only on education, Museums are becoming more business-oriented and customer-focused, Curators are no longer important in museums, are losing visitors rapidly, Whatever commentators may think, managers of museums, art galleries and science centres worldwide are looking for artful ways to blend culture and commerce, and blockbuster exhibitions are at the top of the list. But while blockbusters are all part of the new museology, there is proof that you don’t need a museum, science centre or art gallery to benefit from the drawing power of a blockbuster or to stage a blockbuster. - Which statement best summarises the paragraph?, Blockbusters are no longer popular, Only large museums can organise exhibitions, Museums should avoid tourism completely, Museums are combining culture with business despite debate, But do blockbusters held in public institutions really create a surplus to fund other activities? If the bottom line is profit, then according to the accounting records of many major museums and galleries, blockbusters do make money. For some museums overseas, it may be the money that they need to update parts of their collections or to repair buildings that are in need of attention. For others in Australia, it may be the opportunity to illustrate that they are attempting to pay their way, by recovering part of their operating costs or funding other operating activities with off-budget revenue. This makes the economic rationalists cheerful. However, not all exhibitions that are hailed to be blockbusters will be blockbusters, and some will not make money. It is also unlikely that the accounting systems of most institutions will recognise the real cost of either creating or hiring a blockbuster. - According to the paragraph , what is one advantage of museum blockbusters?, They always make a profit, They help fund other museum activities, They reduce operating costs, They eliminate competition, But do blockbusters held in public institutions really create a surplus to fund other activities? If the bottom line is profit, then according to the accounting records of many major museums and galleries, blockbusters do make money. For some museums overseas, it may be the money that they need to update parts of their collections or to repair buildings that are in need of attention. For others in Australia, it may be the opportunity to illustrate that they are attempting to pay their way, by recovering part of their operating costs or funding other operating activities with off-budget revenue. This makes the economic rationalists cheerful. However, not all exhibitions that are hailed to be blockbusters will be blockbusters, and some will not make money. It is also unlikely that the accounting systems of most institutions will recognise the real cost of either creating or hiring a blockbuster. - Which of the following is a disadvantage mentioned in the paragraph?, They are too easy to organise, Their real costs are often not fully recognised, They reduce visitor numbers, They are unpopular with the public, Blockbusters require large capital expenditure, and draw on resources across all branches of an organisation; however, the costs don’t end there. There is a Human Resource Management cost in addition to a measurable ‘real’ dollar cost. Receiving a touring exhibition involves large expenditure as well, and draws resources from across functional management structures in project management style. everyone from a general labourer to a building servicing unit, the front of the house, technical, promotion, education and administration staff, are required to perform additional tasks. Furthermore, as an increasing number of institutions in Australia try their hand at increasing visitor numbers, memberships (and therefore revenue), by staging blockbuster exhibitions, it may be less likely that blockbusters will continue to provide a surplus to subsidise other activities due to the competitive nature of the market. There are only so many consumer dollars to go around, and visitors will need to choose between blockbuster products. - Why might blockbusters become less profitable in the future?, Museums will stop organising them, Visitors are losing interest in exhibitions, There will be increased competition for limited consumer spending, Governments will ban them, Perhaps the best pathway to take is one that balances both blockbusters and regular exhibitions. However, this easy middle ground may only work if you have enough space, and have alternate sources of funding to continue to support the regular less exciting fare. Perhaps the advice should be to make sure that your regular activities and exhibitions are more enticing, and find out what your local community wants from you. The question (trend) now at most museums and science centres, is “What blockbusters can we tour to overseas venues and will it be cost-effective?” - What does the writer suggest in the paragraph?, Only organise blockbuster exhibitions, Avoid blockbusters completely, Balance blockbusters with regular exhibitions, Focus only on international audiences.

RT6_Museum blockbusters_Multiple choices

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