Abstract
This painstakingly researched dissertation turned monograph is the latest offering in a scant series of academic endeavours akin to Devotional Cinema (Nathaniel Dorsky, 2003), Cinema and Sentiment: Film’s Challenge to Theology (Clive Marsh, 2004), and Dreams, Doubt, and Dread: The Spiritual in Film (Zachary Settle & Taylor Worley, 2016). Balstrup attempted to use the popular cinema for ‘an exploration of spiritual experiences and the conditions that are necessary to bring them about…[because] film directors are particularly well equipped to engage the senses and to facilitate powerful viewing experiences’ (p. 1).
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