Abstract

The consolidation of sound design as a fundamental element of contemporary cinematic language has been accompanied by increasing sophistication in mixing and playback systems, such as Dolby Atmos. However, this technical evolution coexists with a reception context largely shaped by non-immersive listening environments, including domestic stereo systems and headphone use. This paper questions the meaning and effectiveness of the contemporary sound design model beyond the specific mixing format, focusing on the continuities and transformations of current cinematic sound language.
The article revisits previous theoretical approaches to digital cinematic sound and recontextualizes them through a comparative case study of Roma (Alfonso Cuarón, 2018), conceived and mixed in Dolby Atmos, and The Zone of Interest (Jonathan Glazer, 2023), deliberately designed in stereo. Rather than establishing a technical comparison between formats, the analysis focuses on the narrative conception of sonic space, the hierarchy of acoustic layers, and the role of sound in constructing off-screen space and the spectator’s perceptual experience.
The methodology is based on a qualitative analysis of sound design understood as a narrative and aesthetic structure. From this perspective, the study demonstrates that sound design operates as a conceptual system that transcends technical format, preserving essential narrative functions linked to the organization of the cinematic discourse.