In my documentary, the scene where Faunitne discusses the myths associated with the label of the dance being “breakdancing” and the relation between breaking and injuries from the perspective of being an osteopath. This scene brings this dynamic of what may seem like this unreal form of dance into reality and a real world setting as it provides authenticity and reasoning behind gravity defying and mind blowing movements we may see in breaking. Faunitne emphasises in this scene the importance of understanding the fundamentals of steps and discipline taken to learn a move, instead of these breakers (also known to be break dancers) as a “super human” that can naturally do these movements. Fontz’s explanation highlighting the work that goes in learning these movers can persuade the audience that it can be done and achieved  by anyone with the correct guidance and initial steps. In Thomas Austin and Wilma de Jong book titled Rethinking Documentary: New Perspectives and Practices, they categorise engagement modes in documentary. One of which is referred to as multiple modes of engagement being reflexive in that it “highlights the idea of two worlds, the one we know and the one that is represented for us in the documentary. If we consider one of the fundamental aspects of documentary which is that it tells us something about the world, then the double mode of engagement acts as a two-stage process in the documentary experience.” (Thomas Austin and Wilma de Jong, “Rethinking Documentary: New Perspectives and Practices”, p225)  This can be found in this scene where Fauntine addresses  typical stereotypes associated with breaking that is most likely already in the viewer’s mind when they think of the term “breakdancing” then to giving insight and knowledge to the realities behind the dance which can go against these misconceptions viewers may have initially thought about it. 

The sound track also transitions to a more intense and disturbing tone, signifying the possibility of injuries associated with breaking even with taking all the safety precautions in learning and  participating in the dance form. The rhythm of cutaway b-roll shots extends and becomes longer (especially with the consecutive use of slow motion shots) than the scene prior which serves a purpose to connect and represent the anticipation that something bad and devastating can happen, in this case being the injuries that can occur from many years of breaking.  

The contrast of close up shots of Fauntine doing ground movements to then cutting to her treating a patient signals to the viewers the upcoming conflict that may occur which Fauntine refers to as the “inherent risk” that comes with activities similar to breaking. This represents the real world as part of a nonfiction media to the viewers in that there is a high risk and inevitable injuries that come with activities that are dangerous. 

Bibliography 

Thomas Austin , & Wilma de Jong, 2008, ‘Documentary Modes of Engagement’, Rethinking Documentary: New Perspectives and Practices, pp.217-232