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Abortion, Religious Freedom, and Catholic Politics by James Hitchcock (review)

intent of this project. As she puts it, “the incarnational aspect of Catholic (and, in general, Christian) theology enables the physical tendency of films to convey spiritual realities since the concept of incarnation allows for visual representation of the holy” (145). For that reason, she determines, cinema can aid in the representation of Catholic thought and of the literary works that convey it. Enright is aware that this is hardly a novel thesis: “Such depiction of the sacred through images has a long history” (145). Thus Catholic Literature and Film does not so much seek to break new ground as till the soil, so to speak, for deeper engagement and further reflection. It is not, then, a seminal scholarly study on theological aesthetics on the order of a Hans Urs von Balthasar or a Richard Viladesau, nor is it an intensive reading of, say, “theology and film” or “theology and literature.” Still, to make these points should by no means suggest that the book is unhelpful. On the contrary, Enright’s book might serve as a worthy resource and dialogue partner for scholars working on these issues. Moreover, with its clear writing style, it promises to stand as a fine introduction for students investigating the intersection of Christian theology, literature, and cinema.