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The article analyzes film discourse, both informative and fiction, in the United States during the First World War. The article places "the division of films" in the framework of the complex campaign of institutional communication started by W. Wilson's government after the war declaration by analyzing "publicity" and "propaganda" strategies deployed by the Committee on Public Information, which was created ad hoc for the military campaign. On the one hand, the paper explores the film stories, both documentary and fiction, distribution apparatus in both the United States and the international markets, the administration policies and the involved agencies, especially in the international distribution. On the other hand, it examines the model of production concerning the contracts signing with film companies and the organization adopted by the Committee on Public Information to create its own productions and participate in joint projects with film companies. The paper places emphasis on the "theory" developed by the Committee on Public Information about script-writing and film staging, particulary on the case of documentary stories, which were based in a model, hybridized with fiction stories, in order to stimulate demand for "educational", "propaganda" film-making, to which the exhibitors initially showed signs of resistence. The paper also highlights, in overall terms, how iconical representation was categorized and, in particular, the assessment on the role silent cinema can play in the Committee's development of communicative strategies. In spite of the Comittee's avoidance of the "propaganda" category, as its own name shows, iconical representation was given "highest propaganda value" and was granted a place of privilege, particularly, in the international campaign's call to spread "the gospel of americanism" around the globe ; El artículo analiza el discurso cinematográfico norteamericano, informativo y de ficción, del periodo de la Primera Guerra Mundial. Inscribe el trabajo de "the division of films" en el marco de la compleja campaña de comunicación institucional desplegada por el gobierno de W. Wilson tras la declaración de guerra, analizando las estrategias "publicitarias" y "de propaganda" del Committee on Public Information, creado ad hoc para la campaña bélica. Se estudia, por una parte, el aparato de distribución de los relatos cinematográficos documentales y de ficción tanto en el mercado norteamericano como en el mercado internacional, las medidas administrativas y los organismos implicados, especialmente en la distribución internacional. Por otra, se estudia el modelo de producción tanto en lo relativo a los contratos firmados con las principales productoras norteamericanas como en lo relativo a la organización de la que se dotó el Committee on Public Information para realizar sus propias producciones y participar en proyectos de coproducción con las empresas cinematográficas. Se prestará especial atención a la "teoría" desarrollada por el Committee on Public Information, en lo relativo a la escritura del guión y en lo relativo a la puesta en escena de los films, sobre todo en el caso de los relatos documentales, para los que se habilitó un modelo, basado en su hibridación con los relatos de ficción, que perseguía estimular la demanda de un cine "educativo", de "propaganda", frente al que los exhibidores mostraron en un principio no pocas resistencias. El estudio prestará especial atención a la categorización de que es objeto la representación icónica, en términos generales, y, en particular, la valoración que se hace del papel que puede desempeñar el silent cinema en el desarrollo de las estragegias comunicativas del Committe on Public Information. A pesar de la prevención con que el Comité utiliza la categoría de "propaganda", como lo atestigua su propia denominación, a la representación icónica se le reconocerá el "máximo valor propagandístico", concediéndole lugar de privilegio, en especial, en la campaña internacional llamada a difundir por todo el planeta "the gospel of americanism".

Prior to World War Two many of the Malay-language films released in Singapore and Malaya were made in Java and the Philippines. Beginning in 1940 the Shaw Brothers began producing Malay films in Singapore for distribution to their theatre network throughout Malaya. The first Malay film magazine, Film Melayu, which began publishing in May 1941, documented the production and release of a number of these pre-war films in Singapore, providing one of the few avenues for a better understanding of the origins of Malay cinema. More importantly, this periodical was firmly ensconced within the Malay publishing community and thus reflects debates over issues ranging from the proper script to use in publishing to technology and its relationship to the nation (or community, bangsa). (J Southeast Asian Stud/GIGA)