industry "were immediate and grim." Lacking investors, many Brazilian directors co-produced English films. This caused English cinema to overrun the Brazilian market, which went from producing 74 films in 1989 to producing nine films in 1993. Brazilian President Itamar Franco ended the crisis by implementing the Brazilian Cinema Rescue Award, which funded 90 projects between 1993 and 1994. The award "opened new doors to a young generation of new film-makers (and a few of the veterans) who were confident that, as the title of a film by Cinema Novo veteran director Carlos Diegues prophetically announced, better days would come (Melhores Dias Virao/Better Days Will Come, 1989)." Third Cinema According to Aristides Gazetas, Cinema Novo is the first example of an influential genre called Third Cinema. Like Cinema Novo, Third Cinema draws on Italian neorealism and French New Wave. Gazetas claims that Cinema Novo can be characterized as early Third Cinema because Glauber Rocha "adopted Third Cinema techniques to bring awareness of the social and political realities in his country through cinema". After fading with Cinema Novo, Third Cinema was revived in 1986 when English film companies looked to create a genre that "focused upon Anglo-American cinematic practices" and stayed away from "both the sentimental leftist cultural theory emanating from the UK and the cultural and educational practices in line with corporate cultures and market consumerism that related to variants of postmodernism." In 1965, Glauber Rocha claimed that "Cinema Novo is a phenomenon of new peoples everywhere and not a privilege of Brazil." Appropriately, Third Cinema has affected film culture throughout the world. In Italy, Gillo Pontecorvo directed the Oscar-nominated The Battle of Algiers (1965), which depicted native African Muslims as brave terrorists fighting French colonialists in Algeria. Cuban filmmaker Tomas Gutierrez Alea, co-founder of the ground-breaking Instituto Cubano del Arte e Industria Cinematográficos, used Third Cinema to "reconstitut[e] a historical past for Cubans." According to Stuart Hall, Third Cinema also impacted black peoples in the Caribbean by giving them two identities: one in which they are unified across a diaspora, and another that highlights "what black people have become as a result of white rule and colonization." List of key films First phase Aruanda (1960) Arraial do Cabo (1960) Cinco Vezes Favela (1962) Barravento (1962) The Unscrupulous Ones (1962) Ganga Zumba (1963) Barren Lives (1963) Black God, White Devil (1964) The Guns (1964) Second phase The Deceased (1965) The Challenge