Bordwell promotes a Constructivist theory of images which emphasizes that every pictoral image is investigated by the viewer and thought about as recognizable  aspects of the image tell a story.  As such the image has a duty to cue the viewer into both the syuzhet and stylistic tendancy of the authorial voice.  Within the constructivist theory than, the story is both crafted as well as prepared to move forward (not necessarily in terms of linear time but in terms of syuzhet)as each image is presented.  Acknowledging the power of an image as a tool by which the perceiver can do multiple things  seems a vital component of constructing a vaible narrative within the medium of film.  An image conveys its information in the present, as it is viewed.  The perceiver digests this information and uses it to understand the space the image constructs as well as how the image constructed effects the future of images in the film.  Our expectations are key in understanding a film image as the language of editing is predicated on a deep understanding of perciever expectations.  As such, the image presents useful information about the present action of the film as well as performing a deeper task of playing to or against expectations.  Is there anyway to break down this language of editing as a tool powered by expectations?