The word ‘shot’ can be reserved or xed spatialdeterminations, slices o space or distances in relationto the camera. […] It is then the sequence o shots which inherits the movement and the duration. Butsince this is not an adequately determinate notion, itis necessary to create more precise concepts to identiy the unities o movement and duration. […] From ourpoint o view or the movement, the notion o shot[plan] has sucient unity and extension i it is givenits ull projective, perspectival or temporal sense. Inact a unity is always that o an act which includes asmuch a multiplicity o passive or acted elements.
,as immobile spatial determinations, are perectly capable o being, in this sense, the multiplicity whichcorresponds to the unity
o the shot
, as mobile section ortemporal perspective. The unity will vary according to the multiplicity that it contains, but will be no lessthe unity o this correlative multiplicity.
1 Deleuze, Gilles.
Cinema 1: Movement-Image
. University o Minnesota Press, 1986. PP. 25-26