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.