1926, the International Union of Catholic Women's Leagues (UILFC – since 1952, the World Union of Catholic Women's Organisations, WUCWO) urged Catholics involved in cinema to build an international Catholic cinema organisation in order to have a say in the international film work of the League of Nations. This led to the founding of OCIC in 1928 with its first secretary general the French canon Joseph Reymond, who also became the secretary of the International Educational Cinematographic Institute (IECI) of the League of Nations. It was a way to counter the influence of those who had a negative attitude towards the Catholic world. OCIC developed a complex but largely positive approach to this new art. It wanted to offer guidance to audiences and to discover and foster productions which promoted the same values as Christians did. It wanted to inform lay Catholics and others, in a professional way, about the moral and artistic quality of films, so that they could decide themselves if they would go and see a film or not. It was the beginning of film education. OCIC called for the creation of national organizations dealing with topics such as childhood, families, spirituality, religion and cinema, and film reviews (an early form of media education). It also expressed its intention to collaborate with the film industry. One of its concerns was the promotion of 'good' films, both for education and entertainment. This was one of the aspects put forward by the Encyclical Letter of Pope Pius XI on the Motion Picture Vigilanti Cura, published in 1936. The dominant perspective in this encyclical was cautious, defensive, and moralising, following the approach of the Legion of Decency which had been founded by the US Catholic Church to launch a crusade against the "abuses" of the motion pictures. After the Second World War, the Vatican began to move closer to the approach taken by OCIC in the matters of cinema. While Unda was much more involved in its development with specifically Catholic production for Catholic audiences, OCIC soon realised that film production was beyond the funds and technical abilities of its members. There were some hopes and flirtations with production in the early 1930s, especially in the Netherlands, but the members and leadership of OCIC saw that their work was in collaboration in promoting exhibition, distribution, review, and critical writing on cinema. During canon Jean Bernard's presidency (1947–1972), the writing and