2021. Material Media-Making in the Digital Age. Intellect.
Can we take things that are already mind-numbing clichés in the mainstream industry – like the ubiquitous drone shot mapping out the grid of a big city at night – and turn them into more mind-boggling propositions concerning the relation of sight to feeling, humanity to landscape, space to time? This is just what Chantal Akerman or Jean-Luc Godard did from their very first short film exercises: playfully interrogate the tool, the technique, the technology, the second-hand form or convention – and, in the process, bend it right out of shape until it becomes expressive of a new idea, a new sensation, a new emotion. Material Media-Making in the Digital Age offers many helpful hints as to how to kickstart such a process.Adrian Martin, film critic and Adjunct Professor at Monash University
2017. The Hollywood War Film: Critical Observations from World War I to Iraq. Intellect.
Genre analysis, as Robert Stam warned, is always in danger of narrowness, normativism, monolithic definitions and biologism. Daniel Binns’ The Hollywood War Film has avoided such pitfalls by offering a reading of the genre that captures its shifting nature across time and forms, starting with the grand narratives of Hollywood to more recent video games. . . . The Hollywood War Film is a significant contribution to the study of cinematic genres and will appeal to both specialists in the field of film studies and students.Iqbal Barkat, Macquarie University, Global Media Journal: Australian Edition
Journal articles and book chapters
- 2019. Dronopoetics: Unmanned Aerial Cinematography and Ivan Sen’s Goldstone. Journal of Asia Pacific Pop Culture, 4(1), pp. 26-41.
- 2018. The Netflix documentary house style: Streaming TV and slow media. Fusion Journal, 14.
- 2018. Even You Can Break: Jessica Jones as femme fatale. In Jessica Jones: Scarred Superhero. Ed. Tim Rayborn & Abigail Keyes. McFarland & Co.
- 2017. The semiotics of strategy: A preliminary structuralist assessment of the battle-map in Patton (1970) and Midway (1976). (Co-authored with Paul Ryder). M/C Journal, 20(4).
- 2016. You Can’t Stop Her: Elektra Re-Configured. In Marvel Comics into Film. Ed. Matthew McEniry, Rob Weiner. McFarland & Co.
- 2016. Conflict/image/narrative: Hollywood in the Middle East. Southern Semiotic Review, 6.
- 2015. Re-viewing D-Day: The cinematography of the Normandy landings from the Signal Corps to Saving Private Ryan. (Co authored with Paul Ryder). Media, War and Conflict, 8(1), pp. 86-99.
- 2014, July. Hit / miss: Evolving narratives and the semiotics of the blockbuster. Southern Semiotic Review, 4.
- 2014. War games: Discourses of war, cinema, and videogames. Transmedia practice: A collective approach. Oxford, UK: ID Press, pp. 153-161.
- 2013. Myth and nostalgia in cinematic representations of World War II. The London film and media reader 2. London, UK: London Symposium, pp. 249-256.