The director who is supposed to tell us a story or a series of events has to produce dense meanings at a short time. The way to dense meanings is to turn the expression of “Cinema is a visual art” into the expression of “Cinema is an audio-visual art” as the sound is not only a technical problem that has to be solved but an aesthetical component, which contributes the narration of a film as well. Thus, the purpose of this study is to discuss the extent short film directors consider the sound as an aesthetical component supporting the narration. Sound is not only practical matter to overcome it as a part of narrative as well. So, the problem of the study is to determine how the sounds used in the films as a part of fictional narrative. This study is limited to the films, which passed the pre-selection of the Akbank International Short Film Festival. The sound structure of five short films selected from the 19 fictional ones, which had passed the pre-selection of the festival, was analyzed. During the analyses, Walter Ong’s “The Centralization Effect of Sound” and Christian Metz’s “Cinematographic Identification Theory” were used. It was determined that most films had ignored the significance of sound although they were fairly good at a picture.
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