YOLSYear Of Life Saved
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References in periodicals archive ?
This aspect of Nueba Yol 3, which points to shared experiences and interests among undocumented immigrants, echoes the sympathetic representation of Mexican restaurant workers and others who are not Dominican in Nueba Yol.
In this depiction, Nueba Yol 3 differs from the earlier film, for while Dominican characters who have settled in the U.S.
As a whole, however, the narrative and conclusion of Nueba Yol 3 suggest that the Dominican community in New York can prosper only if it sticks together to defend the same values prized on the island, that is, if the transnational networks remain open to the influences of the homeland.
In Nueba Yol 3 Balbuena loses his innocent and overly friendly character, instead becoming much more cynical and suspicious of everyone around him.
Although Nueba Yol 3 offers a largely favorable view of transnational communities, like El sueno del regreso, it couples that attitude with a narrow definition of national belonging, in this case of "Dominicanness." Like Molina Casanova's work, Muniz's film is deeply nationalist in its promotion of the idea that ultimately nothing can replace the homeland.
Differently from La guagua aerea and Nueba Yol series, Raising Victor Vargas focuses on the life experiences, including family and love life, not of adults but rather of Caribbean adolescents.
Unlike the Orodoto Balbuena of the first Nueba Yol and the characters in El sueno del regreso, Altagracia found a permanent home in the United States, while still retaining her claim to Dominicanness.
In fact, while both La guagua aerea and Nueba Yol were very popular in Puerto Rico, Raising Victor Vargas did not even play in regular movie theaters (playing only in an art theater), and despite receiving great critical reception and the Un certain regard distinction at Cannes, the film achieved limited success in the U.S., grossing only 2.1 million dollars (Cones 2010: 112).