Danny is a writer of books on aesthetics, specialising in unusual topics such as quietness, shadow and reflection within the subjects of art, cinema and philosophy. He also writes screenplays in a variety of genres. His career as a filmmaker & university lecturer launched his passion and insight in the world of literature, earning him respect in niche fields of interest. He studied film and trained as a classical violinist and composer. He is a Berlinale Talent, with three feature films in his growing filmography. 

Danny’s published books are for sale, and can be purchased below.

Email: info@dannyhahn.com

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Primeval Cinema – An Audiovisual Philosophy

Cinema’s existence is young, but perhaps the meaning of cinema is…primeval. The camera or microphone may be a new tool, but what we use them for is older than we may think. Emptiness, simplicity, stillness and silence in film are discussed in this book as a presence rather than an absence. Sounds give structure and meaning to silence; dialogue accentuates pauses; movements revalue stasis; information shapes the unknown. This passionate proposal for resurrecting a style of aesthetic cinematic primitivism attempts to capture the subtlest moments in film. Primeval Cinema has the power to inspire in us images beyond the screen.  Danny Hahn’s unique, poetic and reflective book is fuelled by his enthusiasm for silent cinema, philosophy, and the films of Ozu, Bresson, Dreyer, Tati, and Tarkovsky.

ISBN – 9780993338618   Price – £8.99   Copyright – Danny Hahn   Edition – First Edition   Publisher – Zarathustra Books   Published – 25 Jan 2016   Language – English   Pages – 128

– watch the trailer here – 

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Two Tales of Sexuality and Solitude

Written for the Screen

‘Tenderly’ and ‘Second Sleep’ are an erotic-drama duet for the screen; a pair of psychological, romantic-thriller nocturnes exploring jealousy, sexuality, and solitude. Danny Hahn’s screenplays are simple, yet challenging, with a melancholy insight into the human condition. His keen sense for drama, dialogue, and the language of audiovisual art reveals a world of nightmares in love and life.

ISBN – 9780993338625   Price – £6.99   Copyright – Danny Hahn   Edition – First Edition   Publisher – Zarathustra Books   Published – 2nd Feb 2016   Language – English   Pages – 128

– watch the trailer here –

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  2 Responses to “”

  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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