Turning a 250-page novel or a two-and-a-half-hour stage play into a 90-minute film means leaving out much of the original and changing most of what’s left. So why does it remain recognisably the same story? What is the slippery essence that transfers, unaltered, from page to screen?

In Adaptations, Denise Faithfull comprehensively and systematically addresses the thorny issues of choosing your source and type of adaptation, whether a liberal appropriation, a free-flowing intersection, a variation or a faithful translation. She illuminates questions of structure, character, dialogue and visualisation, and includes a checklist for the adaptor. Brian Hannant’s introductory chapter discusses the history of Australian film, the basic principles of filmmaking and screenwriting, and a guide to correct screenplay layout.

Drawing from dozens of Australian films including Così, Lantana, Hotel Sorrento, The Boys, Dead Heart, Death in Brunswick and Head On, Adaptations navigates the treacherous waters of the adaptation process, showing us what works … and what doesn’t.

For anyone who’s ever read a novel, seen a play or heard an incredible true story and thought, ‘Now, that would make a great film’, Adaptations is the ultimate on how to make it happen.

Click here for a review by Nick Sidoryn, Marden Senior College, as published in the SAETA Newsletter, Spring 2007.

The official film tie-in for the acclaimed feature-length documentary, Gallipoli, by Turkish filmmaker Tolga Ornek which tells the story of Gallipoli as it's never been told before. The book incorporates significant material not included in the film as it describes life in the trenches through the letters, diaries, photographs and drawings of soldiers on both sides of the battle. Like the film, the book also draws on interviews with international experts. Splendidly illustrated, it includes two foldout maps and a poster.

''Orneks'' superbly presented book, .. is thoroughly recommended'': Louise Keller, Urban Cinefile ''It''s the manner of the telling that will shake you, for it comes from inside the belly of the beast ... somehow Ornek makes it echo more powerfully than ever.'' Sandra Hall, Sydney Morning Herald ''It should be seen by every school student in every nation, worldwide.'' Avril Carruthers, InFilm

‘It’s about realising your creative vision with the right technology.’ Written specifically for the Australian industry, Hands On is an essential tool that will empower filmmakers to understand the latest technologies while saving time and money throughout the production cycle. From choosing equipment, to deciding on a screen ratio, through to delivering projects on the web, TV and at the cinema, Hands On will help emerging and established practitioners make informed production decisions. Features over one hundred illustrations and charts as well as a comprehensive glossary and lists of websites and contact details for government bodies and service providers.

Clark describes in hilarious detail how the outrageous film, The Adventures of Priscilla, Queen of the Desert, became an international success, revealing much about the film industry along the way. In this revised edition, The Lavender Bus chronicles the follies of the film business as it outlines the preparation, production and marketing of Priscilla, reinforced by box office figures and soundtrack sales.

'I would urge anyone looking for an amusing, perceptive and remarkably accurate portrait of today's international movie business not to miss this Australian published account of the making of The Adventures of Priscilla, Queen of the Desert by its producer.  The best "making of" book since John Boorman's Money into Light (a virtually impossible act to follow)... Sight and Sound, UK

Deft and intelligent ... riveting', Observer; Humour and panache ... the flavour of William Goldman's classic Adventres in the Screen Trade', Australian Book Review

A collection of revealing interviews exploring the spiritual and moral values underlying the work of Australian filmmakers Gillian Armstrong, Bruce Beresford, Tim Burstall, Donald Crombie, Rolf de Heer, Scott Hicks, George Miller, Phillip Noyce, John Ruane, Fred Schepisi, Esben Storm, Nadia Tass, Michael Thornhill, Stephen Wallace and Simon Wincer.

Recent ABC programming is causing growing disquiet, that quality is giving way to ratings. Is the national public broadcaster short-selling the regions and cutting its coverage of the arts in favour of cheap studio game shows? ABC TV no longer has a primetime arts program, the audio program The Listening Room has been abolished, there is little original music and dance programming on ABC television; the online arts portal, ‘The Space’, is no longer maintained.

Martin Harrison investigates these changes and proposes a radical way forward.

Australian audiovisual production faces an uncertain future. The recent proliferation of new forms of digital delivery is both a promise and a threat to the screen content business and poses challenges to established forms of government intervention. Many ambitious predictions have been made about the impact on the Australian media landscape and the explosion of sites like YouTube and the investment of media moguls like Murdoch and Packer suggest profound change is taking place. But where does Australian content—our stories—stand? Recent media legislation debate was all about technology; the issue of content was notably absent. This is of serious concern because the fracturing of the media sector and copyright laws, globalisation of production and distribution, have the potential to undermine the existing structure for the creation, production and distribution of Australian material.

Veteran filmmaker Storry Walton sees the rolling diaspora of filmmakers working abroad not as a brain drain but a stimulating asset awaiting development. Our funding structure is now world class, he says, but years of underwriting indifferent movies have created a culture of entitlement to public money which must be overcome. We must fund only the best, and draw on the skills increasingly acquired abroad to engage with the cultural and political flow of the nation.

'Everything we do must somehow be a self-portrait — not to please or reflect the ego, but to nourish our natural ability to share beauty and to reflect our inner truths.'

So writes Paul Cox in this absorbing exploration of his life as a filmmaker and artist, a book which with pain and humour reveals the sources of extraordinary movies like Man of Flowers, My First Wife and The Life and Death of Vincent van Gogh.

Born in Holland at the outbreak of World War II, Cox grew up in a devastated world which made him a wanderer and brought him to Australia at the age of twenty-two. Arguably Australia's only true auteur, he shot to fame in 1981 with the release of his feature film Lonely Hearts, the story of a middle-aged piano tuner seeking love through a dating agency. Probably his most extraordinary feat has been A Woman's Tale, created in six weeks for his dying friend, the 80-year-old actress Sheila Florance. The achievement won Florance an AFI best actress award and Cox a human rights award.

Each of his films has created its own demands and its own emotional turmoil and Reflections gives a brilliant insight into that turmoil — the life and the loves of a complex, generous and irascible filmmaker.

'Cox ... doesn't make movies, just little miracles.' Rita Kempley, Washington Post