Daniel Binns is a screenwriter, producer, and teacher of film and media. He teaches and researches media concepts and cross-media production, and has published on war cinema, graphic novel film/TV adaptations, and new media tools and technologies.
Daniel Binns (he/him) is a screenwriter and producer who moonlights as a Media Lecturer at RMIT University. He teaches storytelling and worldbuilding, experimental filmmaking, and cross-media production.
Dan has written and produced documentary and lifestyle television and corporate film since 2008, for a diverse array of clients and media companies. Notable productions include The Aussie Who Baffled the World (National Geographic) and The Code (Fox Sports). More recently he has lent writing and production skills to immersive experiences such as number_station (2018), in collaboration with the AkE Lab in the School of Design.
Dan is the author of The Hollywood War Film (Intellect, 2017) and Material Media-Making in the Digital Age (2021). He is currently writing a book on The Hurt Locker and further exploring media tools and technologies, including machine learning, immersive media, and video game engines.
Daniel presently serves as Director of Academic Engagement for film streaming platform Atlasshorts, and he is the Convenor of the Cinema Stream and Academic Council Member for the Athens Institute for Education and Research, which has run in Athens, Greece since 2018. Daniel convenes the Critical Intimacies Reading Group and has run the eco_media conference since 2019.
Between 2014 and 2019, Daniel was the Film Area Chair for the Pop Culture Association of Australia and New Zealand (PopCAANZ). From 2017 to 2020, Daniel was the Program Manager of the Bachelor of Communication (Media), and was a Program Manager representative for the School of Media and Communication's Learning & Teaching Committee.
- PhD (Film & Media), Western Sydney University
- Bachelor of Communication (Media Arts Production), Western Sydney University
- Binns, D. (2019). Dronopoetics: Unmanned Aerial Cinematography and Ivan Sen's Goldstone In: Journal of Asia-Pacific Pop Culture, 4, 26 - 41
- Binns, D. (2018). "Even you can break": Jessica Jones as Femme Fatale In: Jessica Jones, Scarred Superhero, McFarland and Company, United States
- Binns, D. (2018). The Netflix documentary house style: Streaming TV and slow media In: Fusion Journal, , 60 - 71
- Binns, D.,Verhagen, D.,Waters, M. (2018). number_station In: Melbourne Music Week Melbourne, Australia
- Binns, D. (2017). The Hollywood war film: Critical observations from World War I to Iraq, Intellect, Bristol, United Kingdom
- Ryder, P.,Binns, D. (2017). The semiotics of strategy: a preliminary structuralist assessment of the battle-map in Patton (1970) and Midway (1976) In: M/C Journal, 20, 1 - 5
- Binns, D. (2016). You can't stop her: Elektra re-configured In: Marvel Comics Into Film: Essay Adaptations Since the 1940s, McFarland, Incorporated Publishers, Jefferson, USA
- Binns, D. (2016). Conflict, image, narrative: Hollywood in the Middle East In: Southern Semiotic Review, 7, 77 - 99
- Binns, D.,Ryder, P. (2015). Re-viewing D-Day: The cinematography of the Normandy landings from the Signal Corps to Saving Private Ryan In: Media, War and Conflict, 8, 86 - 99
- Binns, D. (2014). Hit/miss : evolving narratives and the semiotics of the blockbuster In: Southern Semiotic Review, 4, 1 - 8
1 PhD Completions and 1 Masters by Research Completions5 PhD Current Supervisions and 1 Masters by Research Current Supervisions
- To convene inaugural Cinema Stream and present at the Annual International Conference on Visual and Performing Arts, Athens, Greece, 7 June 2018 � 16 June 2018. Funded by: Ian Potter Foundation Travel Grant 2018 Round 1 from (2018 to 2018)