In Alfred Hitchcock's Thriller 'North by NorthWest', there are many subtle inclusions to the scene that make it iconic, embedded inside of the Cinematography, the Sound, the Mise-En-Scene and the editing.
For example, in Hitchcock's Cinematography work is used in order to beat the cliché of most thrillers. This is present in the opening of the Crop Duster scene, where there are upwards of 8 shots establishing his surroundings and his place in this. These establishing shots give the sense of isolation and desolation in his place, which beats the norm in Thrillers. Also, while the scene unfolds, there are multiple opportunities where Roger could have been killed, such as the slow driving black car. The audience would guess that Roger Thornhill would be shot at that moment, but Hitchcock decided to beat the audience, and the black car drives away without touching him. Another piece of cinematography used in the crop duster scene is a steadycam, where Roger Thornhill is being chased by the crop duster plane, and we follow Roger running while the plane is coming ever closer to him. This shot is iconic, s it is able to show Thornhill's face as he runs, and also give a sense of true danger to the scene, and the idea that the crop duster is a menace.
Another crucial aspect of the movie that Hitchcock uses to his advantage is by using the Mise en Scene to trick the aidience. This is accomplished through a sequence of shots, whereby the establishing shots show that there is no sanctuary, no haven for Thornhill to hide in when he inevitably gets attacked, by a method that we don't know. All of this is given from the surroundings and settings that we learn that Thornhill is in. Due to this location, there are very few props that come into play, and so shots can be filmed in any random order, but the background will almost never change. We also get a great sense of contrast in the movie, as while the countryside is the chosen placement, Thornhill is wearing a smart, clean and we'll kept suit, which is different to the norm that you would see in the actual countryside. 
Editing is also used to create a sense of actual thrill, which Is the obvious intention of a thriller. This is seen during the beginning of the scene, where Thornhill is walking across the road to speak wit the mysterious man, and all of the sequences are relatively long in length, ranging from about 4 seconds in length to upwards of 9 seconds. This lures the audience into security, and to make the viewer feel slightly more immersed with the movie. This all is changed during the chase scene between Thornhill and the cropduster, where it includes some particularly fast paced an short shots, making sure that the audience doesn't have enough time to focus and to explore certain things on the screen, and for us to simply observe the carnage. This is not applicable to the crop duster scene in particular, as there are still some longer shots kept in. Another aspect of editing is the style of which the different clips were added together. In the entirety of the extract, the cut between clips was filled by a straight cut, where there is no kind of transition between these. However, in some shots, the editing style differs, such as a dissolve bridging the clips of a close up of Thornhill, and a single small growth of corn. This is used to show that he is looking at the corn, as dissolved are often used to tell the audience that the two shots are linked, and in this case, that he is looking at the corn.
Editing is also used to create a sense of actual thrill, which Is the obvious intention of a thriller. This is seen during the beginning of the scene, where Thornhill is walking across the road to speak wit the mysterious man, and all of the sequences are relatively long in length, ranging from about 4 seconds in length to upwards of 9 seconds. This lures the audience into security, and to make the viewer feel slightly more immersed with the movie. This all is changed during the chase scene between Thornhill and the cropduster, where it includes some particularly fast paced an short shots, making sure that the audience doesn't have enough time to focus and to explore certain things on the screen, and for us to simply observe the carnage. This is not applicable to the crop duster scene in particular, as there are still some longer shots kept in. Another aspect of editing is the style of which the different clips were added together. In the entirety of the extract, the cut between clips was filled by a straight cut, where there is no kind of transition between these. However, in some shots, the editing style differs, such as a dissolve bridging the clips of a close up of Thornhill, and a single small growth of corn. This is used to show that he is looking at the corn, as dissolved are often used to tell the audience that the two shots are linked, and in this case, that he is looking at the corn.The final piece that Hitchcock used in order to make the film, and especially this scene, famous was by using the sound. Throughout the sequence, we an hear diegetic sounds, such as the cropduster flying over and Thornhill grunting. This is also accompanied by non diegetic sounds, such as the fast paced music playing at the same time. Parallel sound is also used, as the music used fits the scene very well, as both are fast paced and action packed. There is a mixture of On-screen and Off-screen sounds being used, where the plane can be seen and heard flying over, but in the same or next shot, the plane can still be heard, but it was transitioned from being On-screen to Off-screen.
