Using methods of phenomenology, my goal is to show how these can be used to explain the experience film viewers undergo during moments where selective sound omission occurs. What does actually happen in our brains when we are not given the sound we expect to hear? What is our perception of it and where does it come from? How and why do sound designers do it on purpose? Some studies I will discuss show and prove the existence of what sound theorists might know as “imagined sound”, proving that when sound designers make a choice to do something like this, it is never only about the style or creative approach to the film. Also, to help understand this even better, I will mention how technology improvements over the years enabled these techniques to emerge, and also how, despite all these modern-era inventions, sound designers still apply techniques used in very first sound films ever, or even in silent ones. It is my idea to explain all these processes, which would bring me to a conclusion about the existence of the phenomenological experience in viewers during moments of selective sound omission, that can possibly lead to even more questions about this subject.