WEEK 5: GM BLOCKBUSTER EXHIBITION - 20/ 04/ 2018

(1). The Museum of Scotland's GM exhibition is the first with a place and people-specific narrative as well as what appears to be additional gamers (but I need to double check the catalogue before I can confirm this).

(2). The website states: Scottish superstars:

From the early 1990s, Scotland has been recognised as the home of some of the UK's leading game developers. For its Scottish stay, Game Masters featured the work of four pioneering Scottish companies.

DMA Design, from Dundee, created some of the most innovative games of the 1990s, including the hugely successful Grand Theft Auto (1997) and Britain's fastest selling game, Lemmings (1991).

Also from Dundee, recent University of Abertay graduates Space Budgie brought their innovative new game Glitchspace (2014) to the exhibition, offering you the chance to experience what it is like to programme code while solving challenges in a cyberspace world.

WEEK 2 Research Progress

Research area: DreamWorks Animation blockbusters

1. To continue with what I have found last week, I went through the annual report 2015/16 of Te Papa in New Zealand. Apparently, DreamWorks Animation: The exhibition was supported by a local corporate partner - AA Insurance. And to Te Papa, it was a record-breaking year for visitation due to the success of DA. More importantly, it effectively generated more revenue from this blockbuster exhibition. On contrary, 'self generated revenue (of ACMI) reduced compared to previous periods due to only one major Melbourne Winter Masterpieces exhibition, DreamWorks: The Exhibition compared to two per annum in prior years' (ACMI Annual Report 2014/15, p. 52). The fact was ACMI attracted 220,000 visitors within five months while Te Papa had only 135,000 visitors in about three months. Therefore, from my perspective, Te Papa seems to have a more sustainable mode of fundraising than ACMI in this case. 

WEEK 1 Research Progress

ACMI International Blockbuster - DreamWorks Animation (2015-2020)

Key Findings:

1. According to its Annual Report 2015, ACMI was the first cultural institution to tour locally-curated Melbourne Winter Masterpieces exhibitions (which include both DreamWorks Animation and Game Masters) on the world stage. The support  funding was mainly gained from the Victorian Government.

2. In 2015, DreamWorks Animation exhibition went to 2 international countries, which were Singapore, New Zealand. In 2016, South Korea, Taiwan and Mexico were its next destinations. Clear aim to extend its market in Asia. 

Mapping International Blockbusters

This research task focuses on mapping social “ecosystem” of ACMI by looking at its global engagements with international museums, audiences and cultural institutions through traveling blockbusters. The research covers two famous ACMI blockbusters that went global: Game Masters (2012-2020) and DreamWorks Animation (2015-2020).

Soft Power of Traveling Exhibitions

ACMI X Research: First Draft 

Synopsis:

My research requires analysis on both ACMI itself and its partner institutions overseas in the light of how they together organize ACMI’s touring exhibitions. This essay provides the side of attraction power of ACMI which contributes to a larger picture of mapping the whole ‘soft power’ of ACMI. It investigates the ways and reasons ACMI select or be selected in a global market and how these forces gradually have given rise to the character of ACMI. In details, the essay contains research focusing on statistics and data as well as using sociological approaches and research from other scholars to confirm the arguments.

Research question:

On the Map: The curation of 3D cartographies at ACMI

The question addressed:

Can the notion of spatial narratives and deep mapping be used to develop a more complex and non-binarial narrative structure for the representation of culture in international exhibitions produced at ACMI?

The aim:

The proposed research paper aims to demonstrate that spatial narratives and deep mapping can be used to develop more complex postcolonial organisational principles that present cultural production within a non-linear network.