This study investigated the impact of a film’s musical soundtrack on the meaning-making process of secondary school students, set in the context of how film patrons elicit meaning from the film experience. The theoretical framework was adopted from Rosenblatt’s (1978) work: The Reader, the Text, the Poem. This study employed a 5-minute film sequence that was experienced by 4 groups of senior secondary school, non-music class students, with each group exposed to a different musical soundtrack. The 4 different soundtracks were selected on the basis of distinct musical styles as defined by the Hevner adjective scale for music listening. These 4 groups (totaling 74 subjects) each responded to 10 open-ended questions. Furthermore, 8 subjects from each group participated in various interviews and focus sessions. Of these, the final focus session (jigsaw) allowed subjects an opportunity to discuss the film without knowing that each subject was exposed to a different musical soundtrack. Results indicate that subjects who were exposed to different musical soundtracks generated various themes stemming from the overall musical character of each soundtrack. Thus, it can be inferred that the overall style, elements, mood, and character of the musical soundtrack play an essential role in the interpretation of the visual stimulus. In addition, this study proposes a new theory of film literacy that recognizes and incorporates the significant impact of the musical soundtrack. This theory also builds on 2 important pedagogical paradigms, namely, constructivism and holism. Finally, this thesis concludes with some practical applications for curriculum planners, educators, and students, and provides 8 guidelines that will assist partners in education to foster a sense of consciousness regarding the musical dimension of film.