Page - 128 - in Mobile Culture Studies - The Journal, Volume 4/2018

128 Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures “Una horda de lobotomizados, de deplor- able condición humana, negros camellos arrepentidos, junkies chicanos reciclados y blanquitatuados desesperados con botas, uniforme caquicaca, blindados cascos y auriculares sintonizando radio Good Morn- ing Babilonia, asalta por tierra, mar y aire los antiguos jardines del edén.” (Cerezales 2004:63) “A horde of lobotomized, of deplorable human condition, black remorseful camels, recycled and white-tattooed junkies Chi- canos, desperados in boots, caquicaca uni- forms, armored helmets and headphones tuned in to radio Good Morning Babilo- nia, assaults by land, sea and air the ancient gardens of eden.” (Translation by the autor) The subtitle for the next section is “filming sheet” or “hoja de rodaje” which precedes “Ame- rican shot” and “Panoramic shot” or “Plano americano” and “Plano panorámico” where it is narrated with much disenchantment and pain the incidents of the war and invasion of the territories of the Middle East. The cynic tone that characterizes the narration testifies of the ultimate frustration to witness the repetition of the same errors and the perpetuation of the same transcultural approaches from unilateral points of view. This is the point where the con- versations stop to be built as nexus between the two parties becoming a sermon where one party speaks and the other witness the sermon. The description becomes more and more animated giving free rein to a description of the contempt of “the other.” entre franceses y americanos, no sobrevive a la agonía de las Naciones Hundidas. Walker y Lawrence retoman sus alforjas y reinciden, y, enlazados como nunca en santa alianza, se dan cita en el Bagdad Café, con Sancho, profanador de la orden de caballería, al acecho de una miserable propina. (…) Cuesta reconocerlo, comprensivo Rick, pero, en un caso como en el otro, embara- zoso es convenir que nos encontramos, como siempre, fuera de la pantalla y fuera de la Historia. Fuera de juego, blanco de todos los fuegos.” (Cerezales 2004:62) ship” between the peoples, read it between French and Americans, does not survive to the agony of the Sunken Nations. Walker and Larwrence get their luggage again and relapse, and, linked up as never before in a Holly Alliance, concert a meeting in the Bagdad Café, with Sancho, profaner of the order of the cavalry, on the prowl of a mis- erable tip. (…) It is difficult to acknowledge it, understand- ing Rick, but in one case as in the other, it is embarrassing to agree that we met, as usual, outside of the screen and outside of History. Outside of the game, as the target of all the fires.” (Translation by the author) The following section is subtitled as “Chopped shot” or “Plano picado.” In this portion of the narrative, the author describes the landscape after the American invasion to the Arab territories. The ironic tone characterizes the description of the desolation left after the war contrasting it with its History of splendor.