This film is one of the most iconic of our time for a variety of different reasons, not least of which is the camerawork and elements of mise-en-scene, all of which are pulled together through editing.
At the opening of this scene, what appears to be a long crane shot is used as we descend upon a tall glass building. This shot isn’t cut at any point, so it occurs in real time without any compression or expansion. At the end of this shot, one of the panes of glass is shot out from the inside. This unites the outside of the building with the inside of the building instead of allowing the audience to infer this connection. As the robbers prepare to jump out of the window frame, the shots are much shorter, building the suspense. Another crane shot is used as they ride the wire across the two buildings; we see straight down at one point, giving us a sense of dimension and creating space on the screen.
Interspersed with the robbers gliding to the other building is a shot of another robber on a street corner with a mask in his hand. We later discover that this robber is the Joker himself, so the mask is an element of mise-en-scene that clues us into how important this character is. When the Joker is picked up by more of his thief friends, we see a shot of the interior of the vehicle. It is at this point that the axis of action is somewhat broken and disorients us. First, we get a shot from behind the Joker’s head, establishing the axis; next, we get a shot from the right of the passenger’s head, which confuses our sense of the space in the vehicle.
Jumping off of the vehicle scenario once more, a sense of unity between cuts is created when one of the robbers in the car says to the other, ”I know why they call him the Joker.” In the next cut, two more masked men seemingly continue this conversation when one says “So why do they call him the Joker?” and the other answers the question. It creates a cohesiveness between two otherwise unrelated scenes.