Dr Pratap Rughani

Profile image of Associate Dean of Research (Acting) Reader in Documentary Film

Associate Dean of Research (Acting) Reader in Documentary Film

London College of Communication


The relationship of teaching to research is central to Pratap’s work at LCC where he leads the Research Department that supports and develops the research activity of staff and students. This includes UK and international research partnerships that develop LCC’s unique research emphasis and its focus on social justice.

Pratap has extensive experience as Course Director of London College of Communication MAs, including writing and leading MA Documentary Film. He is an award-winning documentary film maker with over 30 films for Channel 4, BBC TV, the British Council and fine art spaces including Modern Art Oxford.

He presents and writes widely on documentary practice and ethics; documentary as a key to new dialogue; inter-cultural and post-colonial futures; Stanley Kubrick; listening and mediation in communication. He is a member of UAL's research centre in Transnational Art, Identity and Nation.

He is an innovator, committed to developing inclusive curricula, and has worked extensively to promote cross-cultural interchange through teaching, research and documentary film practice. As an educator, Pratap works with students as both collaborator and mentor and in doing so helps students to connect study, research and professional practice.

For his individual excellence Pratap Rughani was awarded a prestigious National Teaching Fellowship in 2013, by the Higher Education Academy, the professional organisation for higher education teachers, and served as Deputy Chair of the National Teaching Fellows’ committee.

Research interests

Documentary film, ethics, subjectivity, post colonial, nationality, cross cultural, Kubrick, mediation, photography. 

Research statement

My practice embraces a range of documentary film and photographic practices. My documentary film practice finds homes in a spectrum of editorial, commissioning and exhibition environments. Much of my early work is in observational broadcast documentary modes, with twenty-five films for BBC 2 and Channel 4. More recent films explore the greater aesthetic freedoms of independent commissions for the British Council, or research-supported projects designed for exhibition in gallery spaces such as Modern Art Oxford. Many explore the dynamics of inter-cultural communication, conceiving documentary as a crucible in which people of radically different perspectives, cultures and politics come into relation, for example with the Truth & Reconciliation Commission of the new South Africa. I am interested in examining and creating newer forms of inter-cultural documentary film cultivating the kinds of pluralized spaces through which newer understandings can evolve.

The unique power of what might be called the 'documentary charge' and its relationship to 'reality' is a key research area. I am interested in how the ethics of production decisions are made visible and interrogated, including the relationship of ethics and aesthetics, for example in creating and analysing images in the aftermath of atrocity of trauma (see research outputs). Academically, I am often working with the veracity of the documentary moment, contextualising this work in terms of how subjectivity re-positions documentary claims to representation, preferring in my work to uncover and juxtapose a matrix of authenticities rather than seek narrative closure.

Essential in any post-colonial context is the recovery of voices at the margins and understanding their centrality. My research interests are preoccupied by the construction of realities that documentary film uniquely signals. This territory is by turns experimental and relates to the digital contexts of new media. Philosophically I am interested in how exposure of the conditions of production and subjectivities of documentary teams shapes the 'observed' event - configuring realities in these moments of 'touch'.


Onyeka Igwe, Unbossed and Unbound: How can critical proximity activate the Imperial Archive?

Cathy Greenhalgh, PhD by Published Work, Cinematography as Praxis.

Allesandra Ferrini, The Libyan Crisis: expanded documentary, real-time news, and the historicisation of the present

Selected research outputs