In this doctoral dissertation, Martine Huvenne presents the results of research on the singularity and the defining characteristics of perceived sound in film and the way sound guides the viewer/listener in experiencing and perceiving a film. The perception of a film is being approached as an active event in which an embodied and lived act of listening fixes the attention of the viewer/listener and establishes his or her individual coherence. Through choices regarding sounds and nuances in the sounds, through decisions about the auditory spaces, the composition of sounds and in the mixing, the director is able to transfer an experience and steer the way a film is perceived. The aim of this research is to provide a contribution to film theory and artistic film practice concerning aspects of the sound that do not lie at the very surface, but that are potentially determinative and motivating when perceiving a film in its totality. Many implicit dimensions of the (experience of) sound that are not immediately capturing our attention lack a detailed theoretical and conceptual study and analysis. The slightest sound nuance can have a huge impact on the film experience and on its perception.