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The designation of a film as a "blockbuster" is exclusively reserved for productions originating from major Hollywood studios.
Answer: False
While typically associated with major studio productions, the term "blockbuster" primarily denotes a work of entertainment achieving significant popularity and financial success, regardless of its specific studio origin.
The term "blockbuster" entered the American lexicon in the early 1940s, initially denoting potent aerial ordnance capable of widespread destruction.
Answer: True
The term "blockbuster" first appeared in the American press during the early 1940s, where it was used to describe "blockbuster bombs," a type of powerful aerial munition.
The earliest documented usage of "blockbuster" specifically within the film industry context dates to the late 1950s.
Answer: False
The earliest known use of "blockbuster" in reference to a film occurred in May 1943, with advertisements in trade publications describing the RKO film *Bombardier*.
One proposed etymological link for the film term "blockbuster" suggests a derivation from "block booking," despite the practice's outlawing preceding the term's widespread adoption.
Answer: True
A theory posits that the term "blockbuster" originated from "block booking," a studio practice of selling films in packages. However, this practice was outlawed before the term became common in film parlance.
The films *Bombardier* (1943) and *With the Marines at Tarawa* (1944) are cited as early examples described as "blockbusters" in industry advertisements.
Answer: True
Trade advertisements from 1943 and 1944 utilized the term "blockbuster" to describe films such as RKO's *Bombardier* and the war documentary *With the Marines at Tarawa*.
Following World War II, the term "blockbuster" was immediately and continuously integrated into standard film industry terminology.
Answer: False
The term "blockbuster" largely fell out of common usage after World War II, only to be revived and standardized in the film industry by 1948.
By the early 1950s, the definition of a "blockbuster" in the film industry had solidified around its substantial spectacle, scale, cost, and anticipated high box office returns.
Answer: True
The film industry and trade press standardized the term "blockbuster" by the early 1950s to describe films characterized by their grand scale, significant production costs, and the expectation of substantial box office revenue.
The image caption describes crowds lining up for *Gone with the Wind* in 1947, illustrating strong public engagement with popular films.
Answer: True
The caption references the significant public turnout for *Gone with the Wind* in 1947, serving as an illustration of substantial audience engagement with highly popular films.
The primary characteristic defining a blockbuster is its low budget and niche appeal.
Answer: False
Blockbusters are fundamentally characterized by high popularity and significant financial success, typically involving large budgets and mass-market appeal, rather than low budgets and niche audiences.
The term "blockbuster" evolved from military terminology to describe films due to an analogy of immense impact.
Answer: True
The term originated from "blockbuster bombs" used in warfare. Publicists adopted it for films, drawing an analogy to the bomb's significant impact to describe highly successful movies.
The term "blockbuster" originally referred to a type of large, ornate theater.
Answer: False
The term "blockbuster" did not originate from theater architecture; its initial usage related to powerful aerial bombs, later analogized to impactful films.
The practice of "block booking" is widely accepted as the direct origin of the film term "blockbuster."
Answer: False
While "block booking" is one proposed theory for the term's origin, the most widely accepted etymology links "blockbuster" to "blockbuster bombs" due to the analogy of immense impact.
By the early 1950s, the definition of a blockbuster shifted to emphasize critical acclaim over box office performance.
Answer: False
By the early 1950s, the definition of a "blockbuster" had become standardized to emphasize financial success and box office performance, rather than critical acclaim.
The term "blockbuster" was revived in 1948 by the publication *Motion Picture Herald*.
Answer: False
While the term was revived around 1948, it was primarily popularized and standardized by the trade publication *Variety*, not the *Motion Picture Herald*.
What is the primary characteristic defining a blockbuster in the entertainment context?
Answer: Its high popularity and financial success.
The defining characteristic of a blockbuster is its substantial popularity and significant financial success, typically achieved through mass-market appeal and often substantial production budgets.
How did the term "blockbuster" transition from its military origin to its use in entertainment?
Answer: Via an analogy drawn by publicists comparing film impact to that of aerial bombs.
Publicists adopted the term "blockbuster," originally referring to powerful bombs, to describe films by drawing an analogy to the bomb's immense impact, signifying a film's significant success.
Which theory about the origin of the film term "blockbuster" is considered the most accepted?
Answer: It draws an analogy to "blockbuster bombs" used in warfare.
The most widely accepted etymological theory posits that the term "blockbuster" was adopted for films by analogy to "blockbuster bombs," signifying a powerful and impactful release.
Akira Kurosawa's *Seven Samurai* is identified as a direct antecedent to the narrative structure of early 21st-century superhero films.
Answer: False
While influential, *Seven Samurai* is primarily cited as a precursor and model for the "visceral" moviemaking style of 1970s blockbusters, rather than directly influencing the narrative structure of early 21st-century superhero films.
Steven Spielberg's 1975 film *Jaws* is widely recognized as the seminal work that initiated the "blockbuster era."
Answer: True
The film *Jaws*, directed by Steven Spielberg in 1975, is broadly acknowledged as the first film of the "blockbuster era" and is credited with establishing the genre.
The cultural impact of *Jaws* was characterized by its deliberate pacing and limited public discourse.
Answer: False
*Jaws* generated significant public interest and conversation, creating a phenomenon often referred to as "buzz," and encouraged repeat viewings due to its exciting narrative.
*Star Wars* (1977) surpassed the commercial success of *Jaws* by achieving extended theatrical runs and establishing new box office benchmarks.
Answer: True
*Star Wars* built upon the foundation laid by *Jaws*, setting new box office records and maintaining a theatrical presence for over a year, thereby reinforcing the viability of large-scale commercial films.
In the wake of *Jaws* and *Star Wars*, Hollywood producers increasingly favored smaller, independent film projects.
Answer: False
Following the immense success of *Jaws* and *Star Wars*, major Hollywood studios shifted their focus towards developing large-budget "event" films and investing heavily in advertising campaigns.
The "summer blockbuster" trend, characterized by concentrated major releases and marketing efforts, often centers around the July 4th holiday period.
Answer: True
The "summer blockbuster" strategy involves studios strategically releasing major films during the summer season, frequently aligning marketing pushes with holidays like July 4th to maximize commercial appeal.
George Lucas's 1973 film *American Graffiti* is recognized for its contribution to the emergence of the summer blockbuster trend.
Answer: True
*American Graffiti*, directed by George Lucas in 1973, is frequently cited alongside other New Hollywood films as a significant factor in the genesis of the summer blockbuster phenomenon.
The period spanning the 1980s and 1990s witnessed a decline in the production of high-quality, successful blockbusters across diverse cinematic genres.
Answer: False
The 1980s and 1990s were characterized by the release of numerous influential and commercially successful blockbusters, solidifying and expanding the genre across various cinematic categories.
Influential blockbusters from the 1980s include *E.T. the Extra-Terrestrial*, *Ghostbusters*, and *Die Hard*.
Answer: True
Key blockbusters from the 1980s that significantly impacted the industry include *E.T. the Extra-Terrestrial* (1982), *Ghostbusters* (1984), *Back to the Future* (1985), *Top Gun* (1986), and *Die Hard* (1988).
The success of *The Godfather* is considered irrelevant to the historical context preceding the blockbuster phenomenon.
Answer: False
While *Jaws* and *Star Wars* are often cited as catalysts, the commercial success of films like *The Godfather* is also recognized as a precursor that demonstrated the potential for high-quality, commercially viable cinema.
A "summer blockbuster" is a type of blockbuster specifically released during the summer season to maximize commercial appeal.
Answer: True
The term "summer blockbuster" refers to a blockbuster film strategically released during the summer months, a period often targeted for maximum audience reach and commercial success.
The film *Jaws* is credited with founding the blockbuster film genre.
Answer: True
*Jaws* (1975) is widely recognized as the film that initiated the "blockbuster era" and effectively founded the genre as it is understood today.
The success of *Jaws* and *Star Wars* led to a decrease in the average budget for Hollywood films.
Answer: False
The commercial success of *Jaws* and *Star Wars* prompted studios to increase, not decrease, the average budgets for their films, as they sought to replicate this success with large-scale productions.
What is the "summer blockbuster" trend?
Answer: A marketing approach focusing on major releases around the July 4th holiday for broad appeal.
The "summer blockbuster" trend refers to the strategic release of major films during the summer season, often timed around holidays like July 4th, to capture a wide audience and maximize commercial success.
The *Harry Potter* film series and *The Lord of the Rings* trilogy were early examples demonstrating the potential of interconnected cinematic universes.
Answer: True
The *Harry Potter* series and *The Lord of the Rings* trilogy, both commencing in the early 2000s, served as significant early demonstrations of the viability and appeal of interconnected film franchises, paving the way for future models.
The 2008 film *Iron Man* launched the DC Extended Universe (DCEU).
Answer: False
*Iron Man* (2008) launched the Marvel Cinematic Universe (MCU), not the DC Extended Universe (DCEU). The DCEU began later with films like *Man of Steel* (2013).
The success of the MCU inspired the creation of other cinematic universes like the MonsterVerse and the Wizarding World.
Answer: True
The highly successful model of the Marvel Cinematic Universe (MCU) prompted the development of other interconnected cinematic universes, including the MonsterVerse and the Wizarding World.
The *Marvel Cinematic Universe (MCU)* is a media franchise primarily focused on superhero films produced by Marvel Studios.
Answer: True
The Marvel Cinematic Universe (MCU) is indeed a media franchise centered on superhero films produced by Marvel Studios, known for its interconnected narrative structure.
The concept of "cinematic universes" began with the launch of the Marvel Cinematic Universe in 2008.
Answer: False
While the MCU popularized the concept, earlier franchises like *Harry Potter* and *The Lord of the Rings* demonstrated the potential for interconnected cinematic universes prior to the MCU's inception.
The DC Extended Universe (DCEU) is cited as a highly successful cinematic universe inspired by the MCU.
Answer: False
While inspired by the MCU's success, the DCEU has experienced varying degrees of box office performance and critical reception, and is not universally cited as "highly successful" in the same vein as the MCU.
Influential blockbusters from the 1990s include *Jurassic Park*, *The Lion King*, and *Titanic*.
Answer: True
The 1990s saw the release of major blockbusters such as *Jurassic Park* (1993), *The Lion King* (1994), *Toy Story* (1995), *Independence Day* (1996), and *Titanic* (1997).
In the 21st century, studios decreased their investment in film franchises due to the rise of streaming services.
Answer: False
The 21st century has seen a significant increase in studio investment in film franchises, driven by the success of interconnected universes and the potential for sustained revenue streams.
As of June 2025, the Marvel Cinematic Universe (MCU) has grossed over $31 billion globally across its films.
Answer: True
The Marvel Cinematic Universe (MCU) has achieved remarkable financial success, with its cumulative global box office exceeding $31 billion as of June 2025.
A trend in the 21st century involved splitting single narratives, particularly book adaptations, into two-part blockbusters.
Answer: True
The practice of dividing a single narrative, especially adaptations of popular book series, into two distinct film installments became a notable strategy in the 21st century to maximize audience engagement and revenue.
Notable original blockbusters from the 2000s include *Gladiator*, *Avatar*, and Pixar's *WALL-E*.
Answer: True
The 2000s saw the release of significant original blockbusters such as *Gladiator* (2000), *Avatar* (2009), and critically acclaimed animated films like Pixar's *WALL-E* (2008).
The 2010s saw the release of major blockbusters including *Inception*, *Gravity*, and *Frozen*.
Answer: True
The decade of the 2010s was marked by the success of numerous blockbusters such as *Inception* (2010), *Gravity* (2013), and the animated phenomenon *Frozen* (2013).
Older film franchises were largely abandoned in the 2010s and early 2020s.
Answer: False
The 2010s and early 2020s witnessed the successful revival and continuation of numerous older film franchises, such as *Planet of the Apes*, *Jurassic World*, and *Top Gun*.
The 2010s saw the resurrection of older franchises like *Planet of the Apes* and *Jurassic World*.
Answer: True
The decade of the 2010s featured the successful revitalization of established film franchises, exemplified by the *Planet of the Apes* reboot series starting in 2011 and the *Jurassic World* films beginning in 2015.
The strategy of splitting narratives into two-part blockbusters aimed to maximize audience engagement and revenue.
Answer: True
The practice of dividing a single narrative into two films was employed to extend audience engagement and capitalize on revenue opportunities across two releases.
The film *Avatar* (2009) is considered an example of an original blockbuster from the 2000s.
Answer: True
*Avatar*, released in 2009, is recognized as a significant original blockbuster from the 2000s, achieving unprecedented commercial success.
Which of the following is NOT listed as an example of a two-part blockbuster in the 21st century?
Answer: The Lord of the Rings trilogy
While *The Lord of the Rings* was a multi-film adaptation, it was released as three distinct films, not split into two parts as part of a single narrative conclusion, unlike the other examples listed.
What was the financial success of the Marvel Cinematic Universe (MCU) as of June 2025, according to the source?
Answer: Over $31 billion across 43 movies.
As of June 2025, the Marvel Cinematic Universe (MCU) had achieved a global box office gross exceeding $31 billion from its 43 released films.
A backlash against the "blockbuster mentality" criticized the decline of artistic, smaller-scale films.
Answer: True
The intense focus on blockbuster production has generated criticism, with some lamenting a perceived decline in the production and visibility of more artistic and smaller-scale cinematic works.
Critics like Peter Biskind argued that the success of *Jaws* and *Star Wars* led studios to embrace more innovative, author-driven films.
Answer: False
Peter Biskind, in *Easy Riders, Raging Bulls*, argued that the commercial triumphs of *Jaws* and *Star Wars* prompted studios to increase production control and focus on blockbusters, thereby reversing the trend of innovative, author-driven cinema from the New Hollywood era.
Chris Anderson's *The Long Tail* argues that a society focused exclusively on expected hits is a limited society.
Answer: True
In *The Long Tail*, Chris Anderson posits that societies concentrating solely on "hit" entertainment are inherently limited, failing to acknowledge the cultural and economic significance of niche markets.
The "blockbuster mentality" is praised for encouraging artistic risk-taking and diverse, smaller-scale productions.
Answer: False
Conversely, the "blockbuster mentality" is often criticized for fostering risk aversion and potentially sidelining artistic innovation and smaller-scale productions in favor of mass-market appeal.
The "blockbuster mentality" is criticized for potentially leading to risk aversion and a focus on mass-market appeal over artistic innovation.
Answer: True
Critics argue that the "blockbuster mentality" encourages studios to prioritize commercially safe, mass-market films, potentially stifling artistic experimentation and the development of smaller, more original cinematic works.
What criticism is leveled against the "blockbuster mentality"?
Answer: It encourages risk-averse decision-making and potentially neglects smaller, artistic films.
The "blockbuster mentality" is criticized for fostering a risk-averse approach in studios, potentially leading to a neglect of smaller, artistically driven films in favor of commercially predictable, mass-market productions.
According to Peter Biskind's *Easy Riders, Raging Bulls*, what shift occurred in Hollywood after the success of *Jaws* and *Star Wars*?
Answer: Increased studio focus on blockbusters, advertising, and production control, reversing earlier trends.
Peter Biskind's analysis suggests that the commercial success of *Jaws* and *Star Wars* led Hollywood studios to prioritize blockbusters, extensive advertising, and tighter production control, thereby reversing the independent spirit of the New Hollywood era.
What did Chris Anderson argue in *The Long Tail* regarding societies focused on hit-driven entertainment?
Answer: They are actually limited societies.
Chris Anderson's thesis in *The Long Tail* contends that societies overly reliant on "hit" products are fundamentally limited, failing to embrace the breadth of cultural offerings.
The rise of streaming and the COVID-19 pandemic have led to a decreased reliance on blockbusters in the 2020s.
Answer: False
The advent of streaming services and the pandemic have significantly altered the film industry, prompting considerable debate among analysts regarding the future reliance on blockbusters versus smaller-scale productions.
During the pandemic, films like *Tenet* and *No Time to Die* experienced significant postponements of their cinema releases or shifts to streaming platforms.
Answer: True
The COVID-19 pandemic led to substantial disruptions for major film releases, with titles such as *Tenet* and *No Time to Die* facing postponed theatrical debuts or direct-to-streaming distribution.
Blockbusters are increasingly booked to avoid competition, ensuring longer exclusive runs.
Answer: False
Recent booking strategies for blockbusters often involve increased competition and shorter theatrical runs, rather than avoiding competition to secure extended exclusive periods.
Significant blockbusters mentioned from the 2020s include *Spider-Man: No Way Home*, *Avatar: The Way of Water*, and *Barbie*.
Answer: True
The 2020s have seen the release of major box office successes such as *Spider-Man: No Way Home* (2021), *Avatar: The Way of Water* (2022), and *Barbie* (2023).
The booking strategy for blockbusters has recently shifted towards avoiding competition and ensuring longer exclusive runs.
Answer: False
Recent trends indicate that blockbusters are increasingly released in competitive environments with shorter runs, rather than being strategically placed to avoid competition and secure extended exclusive exhibition periods.
Which of the following films is mentioned as a significant blockbuster from the 2020s?
Answer: Oppenheimer (2023)
Significant blockbusters from the 2020s mentioned include *Spider-Man: No Way Home* (2021), *Avatar: The Way of Water* (2022), *Barbie* (2023), and *Oppenheimer* (2023).
What impact did the rise of streaming media and the COVID-19 pandemic have on the film landscape in the 2020s, according to the text?
Answer: Significant debate among analysts about future reliance on blockbusters versus smaller films.
The confluence of streaming growth and the pandemic has created uncertainty, leading to ongoing discussions about the industry's future reliance on blockbuster models versus alternative film types.