There are three basic theoretical approaches to the study of literature and religion that can profitably be appropriated by the religious critic of cinema—heteronomy, theonomy, and autonomy; but the greatest of these is autonomy, which explores those dimensions of the formal structure of film that represent the visual analogue of religious or sectarian questions. Inasmuch as all of our culturally typical films are stories, the autonomy of film is preserved if the religious critic approaches film as visual story. The extremes of story, myth and parable, yield substructures that correspond to differing responses to the fundamental religious questions about our relationship to the universe, to others, and to ourselves. Moreover, certain cinematic elements are more suitable than others for the visual representation in story of our basic religious concerns.