new media was understandable. They saw the opportunities offered by the mass media to present their views and opinions on life and the world and so they naturally became involved in promoting education and values. These professional Catholic lay associations, working in the world of the professional media, wanted to unite their efforts against the secularization of society and were thus working in the secular world. On the one hand, they were aware that the press and the new media of radio and cinema were contributing to secularization. On the other hand, they also believed that by engaging in these media, and above all the secular media, they could use them as a new means of evangelization. Efforts had to be made to evangelize the secular mass media, or at least to insert the values of the Gospel into them. As a result of the merger of the Catholic media organizations OCIC and Unda, SIGNIS was founded in 2001. The archives of OCIC and Unda are located in the Documentation and Research Centre for Religion, Culture, and Society, KADOC, at the Catholic University of Louvain (KU Leuven). In 2014, the Vatican suggested that SIGNIS should also integrate the members of the former International Catholic Union of the Press (UCIP), which a few years earlier had lost its recognition by the Holy See as an official Catholic organization. At the SIGNIS World Congress of 2017 in Quebec, several Catholic press associations, former members of UCIP, were welcomed, among them CPA (Catholic Press Association of the United States and Canada). Catholics and cinema Catholics were involved in the new art of cinema from its inception. In November 1895, the Catholic University of Louvain organised a screening of the Auguste and Louis Lumière films. In April–May 1898, the Englishman William Kennedy-Laurie Dickson of the American Mutoscope and Biograph Company cinematographed Pope Leo XIII in the gardens of the Vatican. It was the first time that a Pope appeared before a film camera and blessed it (and the spectators). Later when cinema became a regular and popular medium, Catholics, and above all the parish priests, reacted in two ways: condemning it or considering it as a tool of evangelisation with worldwide influence on families and, above all, on young audiences. In several countries worldwide, priests started to use cinema as part of their apostolate. Among them, there was the Jesuit priest, known as Abbé