Why Theory

Why Theory

Why Theory

A TV and Film podcast featuring Todd McGowan

 4 people rated this podcast
Why Theory

Why Theory

Why Theory

Episodes
Why Theory

Why Theory

Why Theory

A TV and Film podcast featuring Todd McGowan
 4 people rated this podcast
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Episodes of Why Theory

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In this episode, Ryan and Todd discuss the effect artificial intelligence is having on higher education, primarily through commentary on ChatGPT. They first discuss how immediacy and the elimination of labor are key to ChatGPT's appeal before m
Kicking off a new Overview sub series of podcasts, Ryan and Todd discuss the influential ideas of Hegelian-Lacanian philosopher, Slavoj Žižek. After discussing Žižek's defining contribution in bringing the study of Hegel and the study of Lacan
Ryan and Todd discuss the political implications of the societal tendency toward euphemism. They theorize euphemism ultimately as a tool of the reactionary forces and as a way of blunting the necessity of critique. Euphemisms make the people em
Ryan and Todd define and explore the key psychoanalytic concept of the symptom. They contrast the psychoanalytic understanding of the symptom with the therapeutic version and then think about how we must respond to the symptom, including what i
In this episode, Ryan and Todd discuss the erosion of the public under contemporary capitalism. Using Jurgen Habermas's influential writing on the public sphere as a jumping off point, the hosts move to discuss different challenges to imagining
On this episode, Ryan and Todd discuss Rick Boothby's terrific recent book, Embracing the Void: Rethinking the Origin of the Sacred. First they discuss how the book begins its argument by intervening in the gap between Freud's and Lacan's notio
Ryan and Todd discuss Lacan’s Seminar XVI: From an Other to the other. They focus on Lacan’s modification of Marx’s surplus value into surplus enjoyment and the implications of this discovery for the interpretation of capitalism. They frame thi
Ryan and Todd pay tribute to David Lynch’s life and work by discussing each of his ten feature films in order of value as artworks (in the view of one of the cohosts). They explore the role of fantasy in Lynch’s works and how he implicates the
Ryan and Todd work through Jacques Lacan’s Seminar X: Anxiety. Since this is the seminar that provides a great deal of Lacan’s initial theorizing of the objet a, they devote much of their time to this concept. Additionally, they discuss how Lac
In their annual Christmas special, Ryan and Todd explore the Lesbian Christmas film and the theoretical contribution that this specific type of film makes to the Christmas film genre. They discuss Carol, Happiest Season, and Let It Snow in term
Ryan and Todd explore the possibilities for praxis in the vein of the notorious philosopher who expresses disdain for the possibilities of a philosophical praxis—Hegel. They look at instances of Hegelian praxis in action, including the church o
Ryan and Todd explore Hegel’s concept of the beautiful soul as he lays it out in the Phenomenology of Spirit. They discuss the contemporary political situation in terms of this figure and theorize about its predominance in today’s landscape. Th
Ryan and Todd address the fundamental connections between Hegelian philosophy and feminism. They discuss the role of contradiction in both lines of thought and focus on some of the major feminist readers of Hegel’s philosophy, including Gillian
Ryan and Todd work to explain Hegel's central idea of Aufhebung (translated as "sublation"). This unique German term, which means to cancel, to preserve, and to lift up, provides the key for understanding the movement of Hegel's philosophy, but
Ryan and Todd continue their discussion of the horror film by focusing on the genre since Psycho. They discuss Night of the Living Dead, Carrie, The Shining, The Blair Witch Project, It Follows, and The Substance. Their theorize the modern horr
Ryan and Todd pay tribute to the recently deceased theorist Fredric Jameson. They note his deep and wide-ranging contributions to a variety of fields and his unique ability to find something valuable in the object of his critique.
Ryan and Todd explore the classical horror film in terms of the antagonism between life and the beyond, inclusive of death. They focus on the films The Cabinet of Dr. Caligari, Frankenstein, Invisible Man, Godzilla, and Psycho.
Ryan and Todd develop their theory of the heist film as a genre, which they see as structured through the opposition between desire and its object. They examine closely Rififi, The Killing, Heat, Ocean's 11, and Inside Man, as well as touching
Ryan and Todd explore the genre of the sports film, focusing on important entries in the genre such as Chariots of Fire, Rocky, and Heaven Can Wait, among others. They define this genre through the category of the impossible and discuss the rel
Ryan and Todd discuss what they see as the important moments from Freud's New Introductory Lectures on Psychoanalysis--both its highlights and its lowlights. They explore the role that Freud's 1920 discovery of the death drive plays--or doesn't
Ryan and Todd outline the arguments of Freud's Introductory Lectures on Psychoanalysis and highlight the key ideas that appear in this work. They also discuss what Freud mentions here that he doesn't address elsewhere.
Ryan and Todd delve into the concept of suture, as first developed by Jacques-Alain Miller. They trace the deformation that it underwent through the history of film studies and examine a few films where we can see the different understandings o
Ryan and Todd discuss the Jacques Lacan's neologism "extimacy," which first occurs in Seminar VII and then disappears. But they theorize that this concept offers an excellent starting point for grasping Lacan's entire project, despite his own s
Ryan and Todd explore the prequel as a narrative form. They consider its radical potential and how it might function ideologically. They discuss prequels such as Fire Walk With Me and Better Call Saul.
Ryan and Todd theorize the modernist novel as a specific literary form, defined not by its time period but by its structural exigencies. They relate this form to the importance of the ending that function as a cut in the narrative movement rath
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