Page - 129 - in Mobile Culture Studies - The Journal, Volume 4/2018

Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures 129 “Titánicas chimeneas de denso humo, descomunales boquetes de abismal profun- didad en las calles liberadas de sus jugue- tones niños, ciudades redimidas del yugo de sus infraestructuras, subsuelos independ- izados de la tiránica gestión de sus riquezas por sectores reacios al librecambismo… “…destripados los museos, inanimados a los sumerios y acadios y sin dignidad a todos los supervivientes.” (Cerezales 2004:63) “Los del otro lado de la pantalla y de la Historia, repetimos, sin demasiada convic- ción, siempre nos quedará París.” (Cerezales 2004:64) “Titanic chimneys of dense smoke, humon- gous holes of abysmal depth in the streets liberated from their own playful children, cities redeemed from the yoke of their own infrastructures, subsoil, underground freed from the titanic management of their rich- ness by sectors contrary to the free trade…” “… gutted museums, inanimate to the Sumerians and Acadians and without dig- nity to all the survivors.” (Translations by the autor) “Those on the other side of the screen and of History, we repeat, without too much conviction, we will always have Paris.” (Translation by the author) In this description, the author lets loose his resentment feeling that run deep in his soul decla- ring the unwelcomed presence of “the other” assigning the Americans as the sole perpetrators and culpable of all the events related to the war. These feelings seems to have been brooding and cultivated after many failed attempts to bring together “the self” to “the other.” In the narrative, these strings of failed attempts are blamed on the American side for deepening the distances between the two parties. The next section is subtitled as “Archival shot” or “Plano de archivo” that culminates with the rhetorical question: “Why did I love you, Rick?” “- Por qué te amé, Rick?” (Cerezales 2004:64) using parody to approach the character of Casablanca to the protagonist in the story Amé…Rick. The nexus between the two artistic productions is the verb love conjugated in the past tense leaving open a new rendition of this love in the present tense with different results so the ray of hope is hidden in the same verb in a present or future conjugation of it. It is interesting that the author presents in his conclusion the intercultural spaces of the past in a failing state, due to the fact that this space could not guarantee the encounter of the cultures. Nonetheless, the final message is presented in the very short final segment subtitled “Reality shot” or “Plano real” indicating: In this phrase that closes the narrative in the same way that Casablanca closes the film the author makes reference to the fact that circumstances and people change but the memories of the good times shared in love will persist. Maybe the answer to the transcultural encounter in the transcultural environment rests not in the place or the circumstances of the gathering but in the heart of each participant that dares to include “the other” not only in the dialogue but in the intimacy of the heart which represents the ultimate human connection between peoples. It is evident that the author indicates that Casablanca did not do justice to the presence of “the other” but chose to romanticize the presence of “the other” and presented “this other” within the constraints of a pre-established script written “on his behalf” responding to a unilateral