Lydia Beilby

Teaching Fellow: Film, Exhibition & Curation


Lydia Beilby is an artist, curator and educator whose practice focuses on analogue film media, public programming, collaborative community projects, and educational work with groups of all ages.

Working with 8mm and 16mm photochemical film, and archival ephemera, Lydia has a particular interest in the tactility and physicality of the analogue medium, and these qualities are foregrounded within her own working methodologies. Lydia's practice explores the camera apparatus and projection medium as both a performative process, and an extension of the body, and this way of working centralises hand-made, artisanal, co-operative and environmentally sustainable approaches. Lydia co-founded artists' collective Screen Bandita, and the present focus of her work explores the intersections of performance and documentary.

Lydia is interested in creative ways of imparting knowledge around analogue processes and small-gauge filmmaking, and to this end teaches courses on experimental filmmaking at Stills Gallery, Edinburgh. Lydia was lead artist educator on the Fruitmarket Gallery’s Tacita Dean retrospective and frequently collaborates on projects with institutions, archives, collectives and communities.

As a curator, Lydia has held roles with Edinburgh International Film Festival since 2009, taking the role of Short Film Programmer in 2010, and since 2019 as programmer of the prestigious Black Box strand, which brings together short and feature-length experimental and artists’ film from around the world. Lydia has been an awarding jury member for International film festivals in Uppsala, Krakow, Vienna, Montreal and Kosovo, amongst others, has participated in the selection panel for BAFTA Scotland, and is a Board Member for Alchemy Film & Arts.

Postgraduate teaching

Lydia teaches on the Film, Exhibition & Curation MSc course

Research summary

  • Experimental film + artists' moving image 
  • Small gauge filmmaking practice as political resistance
  • DIY/ collective forms of organising, producing and disseminating moving image
  • Handmade film processes (in relation to shooting, hand-processing and projecting work)
  • Film as performance: including live and expanded cinema
  • Radical and de-centralised archiving techniques
  • Found film, repurposed archive materials and ephemera
  • Film and feminism
  • Creative community engagement (collaborative archive making and filmmaking)