New research published: Inscribing and encoding

A long-gestating piece of research has just been published in the Global Media Journal — Australian Edition. This piece emerged from a day of field-work conducted with the Posthumanities Reading Group from RMIT, under the stewardship of the late and much-missed Adrian Miles. The day was held in February 2017 at Pound Bend on the Yarra River, about 45 minutes north-east of the Melbourne CBD. Almost exactly a year later, on 5 February 2018, Adrian passed away while riding his beloved bike in the bush near Kinglake.

This piece is dedicated to Adrian, and his short but enormous influence on my thinking and approach to academic life.

You can read the piece here.


How does it feel to make media? What goes through the filmmaker’s head right at the moment they hit ‘record’? What are the processes – mechanical, digital, physical, psychological – that occur before, during, and after the recording of sound or vision? Building on the recent embodied turn in screen production research and taking inspiration from core ideas of the new materialists, this experimental piece unfolds in two parts.

Part one takes the form of stream of consciousness writing in retort to quotes or ideas from new materialist thinkers like Andrew Pickering and Kathleen Stewart, and a reflection on one’s own media practice. The result of this is two recipes for a kind of embodied making, which were then put into practice with two pieces of media, The Yarra & I and Pieces of Pound Bend. An extended second part connects reflections on this practice to writing on cinema and time, primarily Gilles Deleuze and Jean Epstein.

This work examines where the maker fits in the nebula of media texts, tools, and technologies. What is the point of making media or – perhaps more aptly – when?

Here’s the reading list I put together to remember Adrian, and my colleague Adrian Danks’ touching tribute.

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About Me

Daniel Binns is a media-maker and theorist of media and screen cultures. He is the author of The Hollywood War Film: Critical Observations from World War I to Iraq (2017), and Material Media-Making in the Digital Age (2021), and has published work on Netflix documentaries, drone cinematography, and film genres. Long walks on the beach are fine, but I much prefer cabins in the woods, board games, RPGs, and movies.


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