Sticky Films brings the material and conceptual dimensions of stickiness into conversation, looking for intentional and sometimes unwanted sticky residues in film and media cultures. The chapters explore the feelings of stickiness, sticky modes of being, as well as representations or traces of stickiness in audiovisual media.

Sticky Films

Stickiness is ambiguous. As a conceptual framework, it speaks of modes of relations and implies a strong affective charge between arousal, lust or disgust. In film and media production, sticky tools are both a material reality or the basis for metaphors of connection, repair or attachment in cut-and-paste or split-and-splice practices. Sticky Films brings the material and conceptual dimensions of stickiness into conversation, looking for intentional and sometimes unwanted sticky residues in film and media cultures. The chapters explore the feelings of stickiness, sticky modes of being, as well as representations or traces of stickiness in audiovisual media.

November 2025

Buy print version via
Publishing Year
2025
Series
Downloads
Cover
License
CC-BY-SA 4.0
Available as
PDF, print

The Editors

Kerim Doğruel is a former member of the “Configurations of Film” Research Training Program. His research is concerned with the materiality of electronic and digital media media theory, and game studies. He has written and taught about on- and off-screen crystals in computer games, circuit board cities and the rhetoric of architectural models, and is currently working on the design and uses of media technologies in prisons.
Kerim Doğruel's Author Profile

Fadekemi Olawoye is a doctoral candidate in the Graduate Research Training Program “Configurations of Film” at Goethe University Frankfurt, Germany. She holds a Master’s degree in Performance Studies from the University of Ibadan, Nigeria and a Bachelor of Arts degree in English Language from the University of Lagos, Nigeria. Her research interests include Nollywood studies, costume and makeup, identity formations, and African popular culture.

Fadekemi Olawoye's Author Profile

Clara Podlesnigg is a postdoctoral researcher and lecturer in Digital Film Cultures at Goethe University Frankfurt. Her dissertation, written as part of the Research Training Program “Configurations of Film”, focuses on holograms and promises of technology in the context of digital platforms. She is a section editor for the journal Open Cultural Studies. Her research interests span everyday cultures, celebrity studies, educational media, gender and technology.

Clara Podlesnigg's Author Profile

This book belongs to the

Sticky Films

Stickiness is ambiguous. As a conceptual framework, it speaks of modes of relations and implies a strong affective charge between arousal, lust or disgust. In film and media production, sticky tools are…

Platforms and the Moving Image

Platforms and the Moving Image offers a multifaceted look at how digital platforms shape and are shaped by economic, cultural, and political forces. The collection examines the effects of…

Distributed Productivities

Digital distribution produces new global cultural flows from urban centers like Lagos, Mumbai or Seoul. But it also enables new forms of distributed production in which cultural entrepreneurs cooperate across continents and…

Accidental Archivism

In the digital media ecology, archives are changing. Artists, curators, critics and scholars assume the role of accidental archivists. They shape cinema’s futures by salvaging precarious repositories and making them matter in…

Post-Cinematic Bodies

How is human embodiment transformed in an age of algorithms? How do post-cinematic media technologies such as AI, VR, and robotics target and re-shape our bodies? Post-Cinematic Bodies grapples with these questions…

Tacit Cinematic Knowledge

Moving images are increasingly finding their way into laboratories, dentist offices, clinics, airports and gyms. In these places and institutions film and moving image technologies serve to advance knowledge, to show how…

Serge Daney and Queer Cinephilia

French critic Serge Daney was a central figure in film, television and media criticism of the second half of the twentieth century. He died of AIDS in 1992, just as the concept…

Who Owns the Images?

Digitization carries the utopian promise of archival access unlimited by constraints of space and time, and with it, of new forms of research and historiographies. In reality, digital image archives pose a…

Pandemic Media

With its unprecedented scale and consequences the COVID-19 pandemic has generated a variety of new configurations of media. Responding to demands for information, synchronization, regulation, and containment, these “pandemic media” reorder social…

Medium, Format, Configuration

In contrast with media constructed as vast, ontologically homogeneous, non-localized systems, formats show material networks of interoperability and exclusions, inscribed in local specificities, and involving precise conditions for the circulation of images…

Tracks from the Crypt

David Bowie’s 2015 Blackstar has been understood by critics and fans alike to have a certain valedictory status. For them, perhaps for us, it is a 39-minute and 13-second farewell. A long…