The thesis examines the dramaturgical competency of Sound Design in contemporary films, including how the audiovisual genre is able to transcend its sensory limitations. The dramaturgical methodology is based on Michel Chion’s terminology. After setting the audiovisual barriers it expands the hierarchical systematization of the five human senses such as sight, hearing, taste, smell and touch by two further components: the sense of body and the sense of balance. It supports the crossing of boundaries with Synaesthetic Sound Design, cross-modal perception and the representation of hapticity. As a result of the research, it becomes certain that despite the fact that there is still no suitable terminology for this, it is still worthwhile for filmmakers to be engaged in this area in order to be able to involve the audience in depth in the end product.