Much of the scenes in this short clip were examples of cross-cutting. At this point in the movie, the police think they have found the kidnapper and are approaching what looks like an ordinary house on the outside. In the cross cut scenes, the action often overlaps and in this particular clip the director uses this to mislead the viewer. The cross-cutting then comes to a climax where with short paced scenes reveal that the police are at the wrong house. The director also uses the element of surprise through restricted narration in the way that we only know what each of the characters know. The director also uses extreme close ups on the kidnapper along with a handheld camera angle to build suspense and show emotional anger. Inside the house, low key lighting is used to sort of show how hidden the girl is from society while the rest of the house uses more fill lighting. The scene also seems to expand time in that it makes something that would only take 30 seconds or so a couple of minutes in the film.
E: Amadeus:
In this clip, the director plays with the mental subjectivity of the old man at the piano who in this scene is seems just be asking a young man about his piano playing skills. We can see into the mind of the older man while he imagines hes the conductor of a symphony. We can still hear the non-diegetic sound while the old man is sitting at the bench, but it suddenly turns to diegetic sound once the other setting is displayed. This could also be considered a fade in where the sound from the other scene is heard before the visual part of the scene is shown. Eye-line matches and the 180 degree rule are also used to show the conversation between the older man and the young man.
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