Microflix Special Screenings Night

By Bridgette Sulicich

With its elegant and unique architecture, Green Square Library was the perfect setting to capture the theme of the evening: a celebration of innovation. Not only were the UTS students’ Microflix films shown for the incredible pieces of artwork that they are, they were deconstructed and built upon by a myriad of installations that showcased both the filmmakers’ talents and highlighted the microfiction that they were based upon.

Guests were invited to explore three levels of the library tower, where they would experience three different explorations of select Microflix films.

The Anything Room

On the top floor, the Anything Room hosted the Page to Screen Adaptation session, run by Deb Szapiro, where she invited the filmmakers to discuss their inspiration, motivation and the process of creating their shorts. Each film was shown twice – sandwiching the discussion so that viewers were able to first experience the raw emotion of the pieces and draw their own conclusions. The second viewing was then coloured by the filmmakers’ aspirations and intentions.

Some filmmakers were also lucky enough to have their microfiction author in the audience, allowing the writers to share their feedback about how they thought their piece would translate to the screen and what it’s like to see new interpretations of their writing.

I loved hearing students discuss the process of making the films, and the thought that went into their decisions. They were so articulate and the films were top-notch.” – Shady Cosgrove (Author of ‘Self Medication’ and University of Wollongong teacher of Creative Writing

Still From ‘Die Like A Kelly’, adapted from Dorothy Simmons ‘On The Hour’

The Music Room

Here, we were treated to Sound in Microflix which showcased some incredible sound improvisation by Stephen Adams and Will Hansen. A projection of eight Microflix films ran continuously, showing each piece twice in a row. The first play was accompanied by an array of piano, bass and percussive soundscapes designed on the spot by the two performers, which was then contrasted by the short’s intended soundtrack on the second play through. Experiencing the almost overwhelmingly intense life given to each film by the live music was, in the most literal sense of the word, awesome. To hear how the Music and Sound Design students had envisioned the films’ soundtracks brought new light to the limitless interpretations that are possible in an event like this.

“The musicians improvising their own soundscapes were innovative and just as the films reinterpreted the source stories, these new sounds created a fresh interpretation of the images in the microflix.” – Brenda Proudfoot (Newcastle author of ‘Down The Rabbit Hole’, whose story was the basis of the Diversity Award.

The Computer Lab

Our last installation was Frame by Frame Microflix, conducted by George Catsi. Here, two films were played through and the audience was given the opportunity to shout out ‘STOP!’ at any point. Wherever the film paused would lead to a discussion from the filmmakers about their specific vision for that frame or scene. This room gave us an opportunity to understand the creative and technical processes that go into making a Microflix film, and really delve in to the minds of the creators. John Carey, whose work ‘Aurora Australis’ was adapted into the microflix film ‘Sweet Dreams’, stopped by to lend us his thoughts when writing the piece. Kezia Suryaputra was the filmmaker for ‘Sweet Dreams’.

I was impressed by the talent on offer and by the efforts of everyone involved” – John Carey (Author of ‘Aurora Australias’ and ‘Left Out’, which was performed during the Multi-media Performance)

Still from ‘Rabbit Hole’, adapted from Brenda Proudfoot’s ‘Down The Rabbit Hole’

The Main Event

Each floor’s session ran through twice, giving guests the opportunity to explore all that the night had to offer. After the second session had wrapped up, everyone was invited down to the Main Auditorium for refreshments and a multi-media performance that gave a new perspective to some of the films we had already seen throughout the night, as well as some new pieces. Actors Grace Naoum and James Thomasson gave voice to an array of incredible microfiction before a backdrop of a still taken from each piece’s film adaptation. Some performances were accompanied by pre-recorded soundscapes that transported you into the heart of the story. We also had readings from three authors, Alana Hicks, Debra Le Nepveu and John Carey, who captivated the audience and breathed life into the words they had so expertly written.

What a lovely experience, to be handed your work back in another form, interpreted creatively by people who are working in another medium!” – Christine Howe (Author of ‘Sea Womb’ and University of Wollongong teacher of Creative Writing)

Still from ‘On the Hour’, adapted from Debra Le Nepveu’s ‘End of Days’

Being a part of a night that celebrated such an amazing array of talent was an experience I am not likely to forget in this lifetime, and it could only have been designed by the visionary that is Bronwyn Mehan. Her impeccable eye for exciting approaches to presenting short stories could only have been realised with the help of Debra Szapiro, George Catsi, and James Hazel, whose video, audio and emceeing expertise made the night flow so smoothly.

Microflix Film Festival in review

What a fantastic three days of Microflix Festival at Green Square Library . . .

To our 2019 Microflix authors and filmmakers, a huge thank you for being a part of the second annual Microflix Festival! It was a really fantastic series of events; from Thursday’s behind-the-scenes Special Screening Night, to the amazing outdoor awards night on Friday and the fantastic hand-on mobile filmmaking workshop on Saturday afternoon. What a marvellous way to showcase the work of Australian authors, to provide a platform for talented emerging film and sound producers and to encourage anyone to pick up their phone and start creating.

We are so proud of all those who took part and extremely pleased to see so many people rocking along to the events. Thanks to our partners, City of Sydney Library Programs for hosting all three events and to the Australia Council of the Arts and City of Sydney Matching Grants Program without whose support we could not have staged this year’s extravaganza. Special thanks to Sydney Mechanics School of Arts for donating prize money and to Northern Territory Writers Centre, Queensland Writers Centre and Writers Victoria for their support. A very special thanks to UTS animation and sound production staff and students.

We are thrilled to announce this year’s award winners, but would also like to congratulate all of our submitters and finalists.

And the nominees and winners are…

Best Direction $200

Nominations were BIRDING and SCREENED.

Winner was SCREENED directed by Sarah Monaghan, Jacob Sadler, Arti Oza and Shaz Kazi, based on ‘Movements’ by Alana Hicks.

Above: Screened

Best Sound $200


Winner was BIRDING based on ‘Birding’ by Brenda Saunders and the sound designers were Henry Lamshed and Lewis Nisbet.

Above: Birding

Best Adaptation $1000


Winner was LUCKY BUTCHERY by Wendy Lu, Yean Chong, Allan Noh and Madelaine Habi, based on ‘Safe and Sound’ by Danielle Baldock.

Above: Lucky Butchery

Best Writing $500

Nominations were ‘Birding’ by Brenda Saunders, ‘Barrage’ by Jude Bridge, ‘Johnny Cakes’ by Alexandra Geneve adapted as LOQUAT, ‘On The Hour’ by Dorothy Simmons adapted into DIE LIKE A KELLY.

Winner was Dorothy Simmons.

Above: Die Like A Kelly

Diversity Award $1000

The Diversity Award was won by the filmmaking group, ‘Major Arcana’ which included Kiara Rodriguez-Hextell, John Li, Allen Wang, Rubaiya Nur Hasan. Their film DOWN THE RABBIT HOLE was based on ‘Down The Rabbit Hole’ by Brenda Proudfoot.

The award was presented by Anne Devrell from the Board of the Sydney Mechanics School of the Arts who have kindly sponsored this $1000 prize.

We’ll be announcing the theme for 2020 Microflix on Dec 1.

2019 Microflix Festival – Green Square Library, Sydney

We are delighted to be partnering with the City of Sydney Library Programs to present the second annual Microflix Awards and Festival at the Green Square Library, September 24-26, 2019.

Whether you’re a film buff, a lover of literature or a budding filmmaker, come and experience this exciting showcase of contemporary Australian storytelling through film. Enjoy free film screenings, the awards ceremony and a mobile filmmaking workshop over three days.

Special screening event: 7.30–9pm, Thursday 24 October
Get a taste of the entries in this year’s competition with a special preview of selected films. Discover the stories the films are based on with some behind-the-scenes insights into how they were made. Reserve ticket

Microflix awards ceremony: 7.30–9pm, Friday 25 October
Join our esteemed judges, Fenella Kernebone, Stephanie King and Will Simon for the screening of finalist films, followed by the awards ceremony. Categories include Best Adaptation, Best film and Best direction. Reserve ticket

Shawn Spina, Filmmaker from CuriousWorks and Screenability
Shawn Spina, Filmmaker from CuriousWorks and Screenability

Mobile filmmaking workshop: 12pm–3.30pm, Saturday 26 October
Get hands-on experience in this free workshop for new and emerging filmmakers with Microflix Festival and short story publishing house, Spineless Wonders. With a focus on story-to-film adaptation, you’ll explore smartphone filmmaking including how to adapt micro-stories for the screen. Presented by Shawn Spina whose short film ‘Prone To The Drone’ had its premiere screening at the 66th Sydney Film Festival. Reserve ticket

Screenshot from Prone To The Drone film (by Shawn Spina)

No prior knowledge of filmmaking is required to attend the workshop. While the workshop is suitable for ages 16 years and over, parental guidance is advised for the screening and awards night due to adult themes in the films screened.

All sessions are free, however bookings are recommended as places are limited.

Presented with City of Sydney Library

Progress Diaries with UTS Animation students No.2

Hi there!! Hope everyone’s had a good week working hard on their adaptations for Microflix 2019! Just like this group of UTS second year animation students whose short film ‘Prune’ is adapted from “Self Medication” by Shady Cosgrove…

Do you guys have experience in adaptations? If so what were they?

As second year students this was actually the first film we’ve ever created, so adaptation from text to film was new to us with this project

What were key elements within the texts you were looking for as a potential text to adapt?

I think a key aspect we were looking for in our texts was a strong central message relatable to us in particular; we wanted something related to us as young people.

How and why did your group decide your text?

We actually had a shortlist of films, but we ended up settling on self medication because we saw the potential to explore different ways of conveying the core theme of the story.

Did you decide a budget before beginning the project?

There was no budget for this project! As it was a student film all of the resources were created by us and our sound team.

What was involved in the initial stages of your adaptation process?

Initially we spent 3 to 4 weeks exploring different metaphors for the obsessive escapism at the core of the story, writing up plot outlines, storyboarding image sequences to see how it would look and designing the characters and environments before we moved forward to production.

Can you please explain a brief timeline of the rest of your progress:

Once we hit production, we had a two month pipeline which we split evenly among all four of us: we each were allocated different scenes for rough animation, line, colour, lighting and compositing etc. Line and colour were further broken up into character and background, and this pipeline worked well for us as we weren’t stuck in a bottleneck waiting for a previous step to be completed and always had something to do.

How have you so far collaborated with UTS Sound Design students on your adaptation?

With the sound students, our process was mostly keeping then up to date on the project and our animation milestones and providing detailed feedback with every iteration of sound we received in order to reach the final product. We mostly discussed online and shared our work through google drive.

What were key challenges or issues you have faced during your progress?

Time management and learning new skills were some main challenges; this was the first time we had undertaken a project of this scale, and working in such close quarters with a team where communication was so important to making sure everything hit deadlines and looked good.

How did you overcome these?

Keeping communication up with our team definitely helped; we relied a lot on each other for feedback and in case of emergencies having a team which were all passionate was great. With time management, we all worked really hard because there was really no other way to avoid it with our other projects. In the end though we’re really pleased with how it went!

What have been some positive highlights of the process?

Seeing people react to our film and genuinely enjoy it was by far the best part of the process, as well as having such a dedicated and understanding team who were all dedicated to making the film the best it could be.

What have you enjoyed about adaptation?

I enjoyed seeing how the transition from one form of media to another allowed you to take so many liberties, but still maintain the core of the story that makes it recognisable. Adaptation can breathe new life into a story or allow you to see it from a different perspective, which I think is the most interesting thing about it.

How do you feel about the concept of the Microflix Festival, like the combining of literature and film?

I think it’s great to see this combining of creatives, especially bringing light to Australian talent and storytellers. It allows us to showcase more than one facet of Australian art and I think that’s really special to see how we inspire and build off of each others work.

Anastazija (Taj) Luksic is a student at University of Technology Sydney, where in 2017 she completed her Media Arts and Production degree, and is currently finishing off her Creative Intelligence and Innovation bachelors. During her degree she worked on personal documentary projects, with one screened at the Focus On Ability Film Festival 2017. She also volunteered on a number of sets ranging from a commercial for Batyr, to ‘The Horizon’ web series.

How To Submit?

Hello fellow filmmakers and writers!

Our submission deadline is coming up on the 30th of June, nearly a month to go! Good luck to those who are already busy working on their projects, and a warm welcome to the Microflix community for those who have recently decided they will enter!

With the submission deadline around the corner, todays blog will give you a step-by-step instruction on how to submit for the festival!

Step 1: Head to our Microflix Film Awards page

Step 2: Scroll and click on Browse 2019 SOUND text excerpts

Step 3: Read through this page of excerpts:

OR: Click on a title to download the full text.

Step 4: Read carefully, select a text and begin your production!

Feel free to read our blog if you get stuck and need some inspiration, or would like tips on making films on smartphones!

Once your film is ready to submit…

Step 5: Head back to the Microflix Film Awards page and scroll to click on Register & Submit your Film

Here you will be redirected to the Spineless Wonders registration page.

Step 6: Create an account with Spineless Wonders

Once you are signed in…

Step 7: Select Submit on either

If you are a student…

If you are not a student..

Step 8: Follow the prompts and upload your film!

Don’t forget to write a small bio for yourself and pay the fee before you submit!

Step 9: Celebrate and wait to hear from us!

Anastazija (Taj) Luksic is a student at University of Technology Sydney, where in 2017 she completed her Media Arts and Production degree, and is currently finishing off her Creative Intelligence and Innovation bachelors. During her degree she worked on personal documentary projects, with one screened at the Focus On Ability Film Festival 2017. She also volunteered on a number of sets ranging from a commercial for Batyr, to ‘The Horizon’ web series.

Progress Diaries with UTS Animation students No.1

Hello filmmakers and future Microflix submitters! Today’s blog post will be a short interview with one of the UTS Animation student groups who are currently creating a short adaptation for Microflix 2019! The students Tak Stapleton, Indigo Krix, Winston Liu, William Savage are adapting ‘Barrage’ by Jude Bridge, one of the microlit texts I gave some tips for in a blog post a couple weeks ago! A great microlit text, which you can read on the Microflix website under 2019 SOUND Texts!

And on with the interview…

Progress screenshot

What were key elements within the texts you were looking for as a potential text to adapt?

We looked for a text that brought visuals to mind when reading. I think an important part of adaptation is finding a source that you can resonate with, something that gets you engaged right from the first time you read it.

Progress screenshot

How and why did your group decide your text?

Our group were all drawn to the playfulness of ‘Barrage’. We liked that the text looked at some heavy concepts through a comical eye. We had a large number of ideas pretty earlier on with how it could be adapted into animation due to the rhythm and morphing visuals in the text.

Progress screenshot

What have been some positive highlights of the process?

It’s been fantastic getting to work with so many different creatives! I’ve enjoyed getting to learn off my peers and bounce ideas around as we worked on molding the microlit into our own interpretation. We all really engaged with the story from day dot so it wasn’t long before we had visions of where we wanted to take it. Each group member had their own set of skills and I think we all benefited from watching how one another do things and learning from that process.

Final year animation students Tak Stapleton, Indigo Krix, Winston Liu and William Savage hard at work!

That completes the progress interview for the week! Will be back next week with more!

Anastazija (Taj) Luksic is a student at University of Technology Sydney, where in 2017 she completed her Media Arts and Production degree, and is currently finishing off her Creative Intelligence and Innovation bachelors. During her degree she worked on personal documentary projects, with one screened at the Focus On Ability Film Festival 2017. She also volunteered on a number of sets ranging from a commercial for Batyr, to ‘The Horizon’ web series.

Page to Screen Adaptation: Fidelity or Liberty?

Guest blogger, Jaimee Cachia

Why is it that written texts adapted for the silver screen so often fall short of the expectations set by the magic of the page?

The most basic answer can be found in the understanding that film, which shows things, and literature, which tells them, ultimately speak different languages. Where a written tale conveys its meaning internally, a film must do so externally. Therein lies the letdown: this difference in transmission techniques can lead to difficulties in communicating certain aspects of a story—perhaps those that occur inside a character’s head—and often results in the omission of those sublime details that can only take place in that liminal space between the page and the reader’s own imagination.

First-person narration, for instance, can pose significant challenges for any adaptation; losing that immediate channel between reader and writer could strip a film of the unique voice that pervaded the original work. It is therefore unsurprising that so many successful adaptations of iconic literary works turn to the narrative voiceover, whether it be in small portions at crucial moments (e.g. Stand By Me) or as an extensive framing device (The Shawshank Redemption, Fight Club). In order to pull this off, these filmmakers do not simply employ the narration as a convenient expositionary device, but rather rely on its contingency with the fictional world in which they are working. The narration in The Shawshank Redemption is so successful because Morgan Freeman’s solemn diction of Stephen King’s words simply feels true to the time. Edward Norton’s wry narration as the unnamed narrator in Fight Club melds naturally into the comic cruelty of the universe David Fincher built from Chuck Palahniuk’s genius.

Fight Club 1999

But are such verbal cues always necessary to convey a story meaningfully? Perhaps not; one could argue that the purpose of an adaptation is not to dictate the original written word, but to interpret it – albeit in a very different art form.

Communicating something visually needn’t cost the piece its essence, even without a disembodied voice to provide consistent guidance. Stand By Me, Rob Reiner’s wildly popular adaptation of Stephen King’s lesser-known novella The Body, indeed features occasional narrative commentary from grown-up Gordie – though it is strikingly sparse considering the primacy of his first-person narration in the original text. The success of this choice proves that it is wholly possible for a film to embody a specific tone first embedded on the page, even if it does stray structurally from its source material. The film’s soundtrack of Buddy Holly and the Chordettes coupled with the nostalgic set design offer meticulous period detail, creating a mood faithful to the novella. The original text stood as a character study of the four 12-year-old boys; though the film differs from the original in that it revolves around the progression of Gordie alone, it retains King’s essential purpose: to examine the journey from childhood towards adolescence, and how the erosion of innocence that this entails can erode one’s friendships.

Stand By Me 1986

Literature and cinema, as two different forms of media, have different rules and expectations. The fidelity of an adaptation to its original text therefore needn’t be the measure of its artistic merit – as such filmmakers as David Fincher and Rob Reiner have shown us, it is entirely possible to insert one’s own creative vision into an existing story, to replicate an essential message without word-for-word literalism.

Jaimee Cachia

‘Jaimee Cachia is a Sydney-based writer of proses both critical and creative. She is currently undertaking her Honours year in Creative Writing at the University of Technology Sydney, whose premier publication Vertigo Magazine has routinely been host to her non-fiction work. Throughout her degree in both Creative Writing and Social & Political Sciences, she has written zealously in the interests of social justice and has previously sub-edited the academic journal NEW: Emerging Scholars in Australian Indigenous Studies.’

Taj’s Top Tips No.2

Hello filmmakers and writers!! Are we excited for todays blog, Shuffle Adaptations: Part Two?!

As we are all preparing for Microflix’s submission deadline, the 30th of June, a little spark of inspiration can be what you need to push that idea out of your mind and onto a camera!

Today I’ll be talking about three microlit texts from the anthology Shuffle, ‘Driving With Gurrumul’ by Andy Kissane, ‘Aftermath’ by Shady Cosgrove, and ‘Barrage’ by Jude Bridge. Each of these texts showcase a variety of approaches to adaptation, and how to adapt a text that may seem too expensive to achieve for a low-budget/ no-budget film.

Continue reading “Taj’s Top Tips No.2”

Making Films on Smartphones – Hot Tips

Helloooo writers and filmmakers!

While we’re all mulling over the options of microlit texts we could choose from for all our Microflix submissions, I’ve gathered some ready helpful tips for shooting on a smartphone. One of the categories in our 2019 Microflix Festival is ‘Best Film Made on Smartphone’, so if you’re a potential submitter, but are unable to locate a camera and have a smartphone, this is your opportunity to get creative!

When Apples iPhone 6 was released, advertisements began popping up that involved stunning landscapes, close up animals and bright coloured photographs or footage, with text that said, ‘shot on iPhone 6’. It really made you think, was it really shot on an iPhone? Since then short films, feature films, advertisements and web series, have all been shot on a smartphone of sorts.

'Unsane' 2018 Director Steven Soderbergh
‘Unsane’ 2018 Director Steven Soderbergh
What filming on an iPhone 7 looks like! (See above)
‘Tangerine’ 2015 Director Sean Baker
What filming on an iPhone 5s looks like! (See above).

In 2010, Apple of My Eye was released which has since been widely credited as the first film to be made on an iPhone 4, shooting and editing. Then in 2011 the first full-length feature film made entirely on a smartphone- the Nokia N8, was released entitled ‘Olive’. The film was made by adapting the Nokia N8 and crafting a 35mm lens adapter onto the smartphone in order to achieve a shallow depth of field. The N8 is also taped to a motorbike and a remote-controlled helicopter for overhead shots in other scenes. More recently in 2018 ‘Unsane’ was filmed entirely on an iPhone 7, whereas Sundance winner ‘Tangerine’ was shot entirely on an iPhone 5s but used an iPhone filming app called Filmic Pro. Some other great examples include ‘Night Fishing’ (2011) by South Korean filmmaker Park Chan-wook, ‘And Uneasy Lies The Mind’ by director Ricky Fosheim, and ‘Snow Steam Iron’ by Zack Snyder.

Full length feature films will be able to spend their “spare” money on extras for their smartphone filming, such as apps, lens adapters, drones. But I have listed some examples that don’t use any. I also recommend checking out some of these films above if you’re still in need of some inspiration.

Some tips that I’ve collected surrounding filming on smartphones do include extra costs but depending on your adaption you may not need to include any of those. majority of these tips are free!

How to keep your smartphone steady?

  • The newest iPhones have built-in optical image stabilization, which makes shooting decent handheld footage fairly easy.
  • You can try resting the phone on a t-shirt or something soft while you hold it on a table top, the ground or any solid surface.
  • You can even try resting your elbows on a nearby object
  • Holding your breath during shots can also help minimize shakiness if you are hand-holding the phone on a solid surface.
  • You can also keep the phone close to your body
  • Don’t forget to use your body to absorb bounces and shakes
  • Try not to use digital zoom as it makes the shots look more grainy and camera movement are noticed much more
  • If your budget does allow for it, miniature tripods are available to purchase at any tech store

How to fix the lighting?

  • The use of natural lighting can save so many shots on an iPhone! Get outside or open a window if you’re shooting inside, just be careful of shadows!
  • But also whilst shooting inside, more light the better, experiment with your different household lighting, bulbs, lamps, fairy lights, the options can be endless!
  • Keep in mind iPhone has an automatic focus and exposure lock. This can be a great function for quick photos, but when you’re shooting a video of one person talking to the camera, it can really complicate things. The iPhone tends to keep adjusting and refocusing, which can lead to jittery-looking footage. That’s why I recommend using the exposure focus lock. This will help to keep the focus and exposure constant throughout your shot.

How do I get the sound right?

  • Have your subject as close to the phone as possible. So when shooting on an iPhone it’s best to position a second iPhone directly above the subject’s head to record clean audio
  • Otherwise you can invest in external microphones.
  • Also can be a good habit to get into when shooting with smartphones, clap once at the beginning of each take to create a reference point for syncing the good sound from the voice memo with the bad sound from the video recording.

How to make use of smartphones built in features?

  • Don’t forget the great time-lapse feature of the iPhone, as they are a cool way to showcase a bustling work environment or event.
  • There’s also iPhone built-in slo-mo that’s a cool way to showcase a bustling work environment or event.

I hope some of these tips were helpful and can be applied to your next smartphone filmmaking attempt!

Taj’s Top Tips No.1

Shuffle Anthology Microlit

Helloo fellow filmmakers, writers, and storytelling enthusiasts! Looking for some inspiration for your entry to this year’s Microflix Award? Our resourceful intern, Taj, has some top tips on adapting microlit to film to get you started… plus an exclusive deal on Shuffle, the sound-themed anthology.

How great are adaptations?! Isn’t it amazing to see how the literary detail and imperfect and perfect features of characters we love are communicated onto screen? Growing up I felt like the luckiest person alive during the Harry Potter era. Reading those books then being able to watch them come to life was an experience like no other. And so my love for storytelling began, where now I am a UTS Media Arts and Production graduate, and filmmaking is my forte. Throughout my degree I hadn’t considered adapting a text for an assignment or personal project since I was focusing on other forms of filmmaking. However, now with the emergence of Microflix and the use of microlit texts as part of the festival being brought to my attention, adaptation is definitely something I will be, and every filmmaker should be, experimenting with now!

Entries close June 30. This year’s theme is SOUND. See entry details here.


In the meantime, I will be examining some of the microlit texts, and how they could be adapted onto the screen. Today I will look at three texts from the anthology Shuffle: ‘Thin Wall’ by Mark O’Flynn, ‘Da Doof’ by Luke Evans, and ‘Stovepipes’ by Elizabeth Tyson-Doneley.

Thin Wall

‘Thin Wall’ is a sorrowful but heartfelt story which immerses the reader into a world of loneliness using very simple, but highly effective imagery. Much of the imagery in ‘Thin Wall’ can easily be translated onto the screen without your production becoming excessive in detail. The narrator overhearing his neighbour’s conversation rather being in the conversation could allow for minimal use of actors  and setting changes. This depends on your interpretation of the story, or how detailed you want your three minutes or under film to be. A simple approach however, could be to simply use no actors, one room, voice recordings, shadows and a POV camera angle. Imagine a POV (multiple shots or one single shot) of the narrator showing us the empty, plain space he is in, with shadows from bars darkening the space, meanwhile a muffled sad-toned phone conversation is occurring next door. These techniques would simply convey the sorrowful, loneliness tone of the text, as well as the prison context of the narrator and his neighbour. Each of these techniques could be extended or removed in your adaptation, which depends on your brilliant interpretation!

Da Doof

I found ‘Da Doof’ a funny take on today’s music scene, highlighting an individual’s perception of different environments where we hear music, and the type of music that is admired. ‘Da Doof’ holds a strong opinionated tone throughout, where the narrator does not like hearing music in nightclubs, and clearly likes listening to music in pubs. They have no interest in following a DJ, but will make an effort to continuously see bands they like. The contrast between the music scenes and the narrator’s selectivity in their music choices has potential for screen adaptation. Rather than following the narrator’s chronological opinions in ‘Da Doof’, an adaptation could continuously switch between the two music scenes. For example, beginning with a short montage of nightclubbing, potentially through photos changing to the time of “doof-doof” music, then the same short montage for live music in pubs. Then using a highly processed, disjointed song choice with footage and/or photography which captures aspects of techno music scene that the narrator is unimpressed by, compared to an instrumental calming song with images that capture a feel good atmosphere, would emphasise the narrator’s tone throughout the text.


The last microlit text I will be exploring is ‘Stovepipes’, an endearing and simple love story where the narrator reminisces about the beginnings of their relationship. ‘Stovepipes’ is told in three parts, firstly describing the couple’s first meeting and kiss, then the week after this meeting, and the present day when the couple are now living together. An adaptation could also communicate the story in these three parts, using chapter titles such as ‘When We First Met’ ‘One Week Later’ and ‘His/Her Birthday.’ The ‘When We First Met’ sequence could cut between two people sitting alone, then to the pair sitting closer together, eventually the last cut shows the couple sharing a kiss. Music, laughter, and muffled dialogue could fill the sequence too. ‘One Week Later’ could show a series of close up shots to the items the narrator describes to be in the space, such as a TV, noodle cups, clothes scattered around. Meanwhile music is playing and the couples laughter builds and builds and builds. Then we follow into ‘His/Her Birthday’ sequence, where we see the narrator just finished getting dressed, and as we hear a door unlock, his or her face lights up and heavy breathing and footsteps sound effects begin and become louder until they reach the narrator.

Register now and get a Shuffle Bargain

These adaptation descriptions I have made are just suggestions! They may or may not resonate with you as you read them yourself! And that’s the beauty of interpretation, so register for Microflix, read the texts for yourself and resolve your own vision of the microlit texts provided as part of the festival! Or find your own sound-theme text to work on.

As a special deal until the closing date, you can grab yourself a pdf of the Shuffle anthology for just $5 where you will find over 40 microlit texts on the theme of sound. To grab this bargain use this link and use the discount code: TAJ

Thank you for reading!

Taj on location

Anastazija (Taj) Luksic is a student at University of Technology Sydney, where in 2017 she completed her Media Arts and Production degree, and is currently finishing off her Creative Intelligence and Innovation bachelors. During her degree she worked on personal documentary projects, with one screened at the Focus On Ability Film Festival 2017. She also volunteered on a number of sets ranging from a commercial for Batyr, to ‘The Horizon’ web series.