Page - 124 - in Mobile Culture Studies - The Journal, Volume 4/2018

124 Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures exchange that could balance the political and cultural negative exchange in the story. As the narrative continues, the author counterposes a romanticized vision of this encounter of cultures that Hollywood had previously chosen to imprint in the celluloid, to the vision that the Moroccan author imprinted, this time, in a literary narrative. In order to establish the contrast, the author use the image of his own cowardice as he presents the reality as it was lived by his own people in contrast with the image of a brave and gallant Hollywood enacted by the actors that follow a triumphalist screenplay that supposedly represents the hosting Moroccan culture. The author denounces an industry that is preoccupied with the artistic productions as commercial products more than cultural representations of “the other” that becomes just another actor or even an extra that identifies and shows an elaborated image of the hosting cul- ture of the film, in a sort of “cultural conquest.” In the midst of this inequality, the “incurable disenchantments and effusions” prevail and are bound to multiply. The writer juxtaposes the time when Casablanca was filmed with the contemporary times of the writing of the story introducing himself as the protagonist and commentator of a per- sonal reflection that illustrates a more general Moroccan reflection shared by many others that feel disappointed, and in this disenchantment that develops in the transcultural space, another group is evoked: the Afro-American community that has also been misrepresented in the American cinema for a long time. This transcultural space allows the juxtaposition of times convoking Historical characters in order to establish parallels that are essential for building up a dialogical aspect within the narrative. The transcultural dialogue becomes as dangerous as the journey between cultural Histories given the fact that the “silenced desires to throw in your face a few truths” “…silenciados deseos de echarte en cara unas cuantas verdades” (Cerezales 2004:59) find finally a proper forum where to be expressed. The accusation of having excluded “the other” in the first encounter of the two cultures (Casablanca) that was structured around the framework of a filmic “assimilation” of the other, becomes a recurring theme that is introduced as unrepeatable since it became inadmissible in the transliterary space that hosts all participants as equals. This space allows the introduction of a new approach in new terms heralding a positive message as a consequence of the many other previous encounters that were based in inequality. The auto-identification as negrito, using the diminutive, represents the character in a historical role given the fact that his voice in the literary narrative introduces him in a strong voice, very well articulated that is prepared to defend his existence and essence in contrast with the Historical silence when dialogues were non-existent and their representation in the film industry chose to follow this image by intro- ducing them as characters with limited voice and ample silences. The second section of the narrative has the subtitle of “Travelling panorámico.” Once again the “(este negrito)…. Pregunta por qué no había cabida para los autóctonos en tu universo, y por qué, cuando la cámara se dignaba a enfocarlos, sólo lo hacía para insinuar que sus dignatarios son corruptos y esta- fadores todos sus comerciantes. En suma, solidario Rick, por qué sólo fuimos, inc- luso en nuestro Casablanca, alborotados “(my ‘negrito’)…besieges me with ques- tions about the horrible conditions of the Agarenos in your time and world. He questions why there was no place for the natives in your universe, and why, when the camera deigned to focus on them, it only did so to imply that their dignitaries are corrupt and swindlers to all of their mer-