until it closed in 1945. During the 1950s Gabriel García Márquez and Enrique Grau attempted to restart the industry. In 1954 the two artists, a writer and a painter respectively, created the surrealistic short film La langosta azul (The Blue Lobster). García Márquez continued in the industry as a scriptwriter while Grau continued painting. 'Pornomiseria' cinema Pornomiseria cinema was the term used by Colombian critics in the 1970s to name certain films that exploited poverty and human misery, in order to make money and achieve international recognition for their directors. The term "pornomiseria" was coined by the Argentine director Luis Puenzo to criticize over-representation of marginalized lives in Latin American cinema. (See also Misery porn or Poverty porn for parallel phenomena.) One of the most criticized examples was Gamín (1978) by Ciro Durán, a documentary about children living on the streets. The film went beyond simply depicting urban poverty by staging recreated scenes of, for example, children stealing car radios. Among the loudest critics were the filmmakers Carlos Mayolo and Luis Ospina, leaders of the Grupo de Cali. Among other films they made was the mockumentary Agarrando pueblo (1977), a satire of pornomiseria cinema. Cinematic Development Company (FOCINE) On July 28, 1978 the Compañía de Fomento Cinematográfico (FOCINE) (Cinematic Development Company) was established to administer the Fund for Cinematic Development which had been created a year before, in 1977. FOCINE was first adjudicated to the Colombian Ministry of Communications which in a period of ten years supported 29 films and a number of short films and documentaries. Corruption in its administration led to the closing of FOCINE in 1993. During this period, the work of Carlos Mayolo transcended and introduced new forms of film making into Colombian cinema with the exploration of unconventional languages. Gustavo Nieto Roa helped to develop comedies with an influence from Mexican cinema. During the last decade of the 20th century, the Colombian government liquidated FOCINE forcing film makers to co-produce films with other countries, mainly from Europe and private capital investors. Despite this, some important productions developed, such as La estrategia del caracol (The Snail's Strategy) by Sergio Cabrera, which won numerous international prizes and managed to revive a national interest on national films. Another successful film director and producer was Víctor Gaviria who, with themes of social concern, created La vendedora de rosas (The Rose Seller) which won many prizes and much recognition along