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Danny has a varied career as a composer, sound designer, university lecturer, and author. His publications and lectures on audiovisual art contribute to the study of cinema, phenomenology and aesthetics. Danny studied film and trained as a classical violinist. He is a Berlinale Talent, with three feature films in his growing filmography.

Email: info@dannyhahn.com

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  1. Werner Herzog once remarked: “If you truly love film, I think the healthiest thing to do is not read books on the subject”. That has been my philosophy for most of my life, until I read Danny Hahn’s Primeval Cinema – An Audiovisual Philosophy. The reason why this book stands out from most other ‘film theory’ literature is because it seems to deny anything which resembles traditional theory on cinema. Hahn even humourously remarks himself: “to call the ‘primeval filmmaker’ a theorist or technician is as absurd as calling a pornographer a gynaecologist – working with the same specialty doesn’t mean the same profession.” But most strikingly, it is a book about filmmaking, (in particular, audio-vision/film sound), which doesn’t dwell too heavily on cinematic theories and schools of thought, but instead, it talks about what it’s like to be a spectator and a creator. It is really more of a philosophy book than a cinema book, because Hahn uses Phenomenology to describe the experiencing film participant through the use of their senses.
    Written like a poem or a soliloquy, this is probably the only book I have read which goes into so much depth about ‘absence’ and all the things which go unnoticed in film. It is surprisingly beautiful to experience as a reader.

  2. Primeval Cinema – An Audiovisual Philosophy.
    A brilliant book! Highly recommended. Filmmakers like Ozu, Tarkovsky, Hitchcock, Asquith, Bergman, Bresson, Kubrick, Dreyer, Herzog, Eisenstein and Tati all end up in this book like an ‘art-house-mix-tape’ for cinephiles. In the preface, we are taken on a journey to 19th century Vienna where creative geniuses hang out in coffee bars, and later on, you feel like you’re sitting in that very café beside Stefan Zweig and Hugo von Hofmannsthal, mixed in with 20th century filmmakers – like a cultural time warp. The conclusion of the book is a series of aphorisms which sound so fresh and original, that it should be quoted by scholars and filmmakers for many years to come.

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