In this chapter (Blockbuster: The Last Crusade) Peter Biskind used the works of two prolific Hollywood blockbuster directors, Spielberg and Lucas, to illustrate what today’s successful blockbuster has come to be. First he remarks on how it must somehow allude to or reconcile with political, social and economic issues of the times. Movies such as Lucas’ Star Wars were made in a time when Americans had sat through years of television broadcasts that depicted the tremendous violence of the Vietnam War. Being so, Biskind believes that is was a good decision for Lucas to find a way to show thrilling combat scenes without the result of blood and gore. Secondly, the movie must adhere to a new kind of genre that offers both a narrative and new visual effects to movie goers. Essentially, the film has to bring something new to the table other than having an awesome plot. A blockbuster had to lure audiences in with amazing spectacles, just as cinema itself had done when it first appeared. If a film didn’t have these aspects then it would not come to be known as a blockbuster.
Biskind’s assertions about what a Hollywood blockbuster had to contain (especially in the 70’s) are absolutely correct and Superman definitely has those qualities. Though Americans knew the story of Superman for decades, the 70’s were socially, politically, and economically perfect for his strong resurgence and immortalization in American culture. It was 1978, the Vietnam War had recently ended, the oil crisis was stronger than ever, people were challenging the government as well as social norms—then all of a sudden America’s favorite superhero arrives on the big screen. Not only is the plot intriguing and appropriate it touch the audience and gives them hope, just as Star Wars had done a year before. Also, it kept audiences entertained with its groundbreaking special effects. It helped pave the way for what we now know to be the modern Hollywood blockbuster. It helped proved that there was a new method in filmmaking that is still the most dominant today.

 
Miller, Mark C., ed. Seeing Through Movies. 1st ed. New York: Pantheon Books, 1990. 112-121.