Seite - 122 - in Mobile Culture Studies - The Journal, Band 4/2018

122 Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures of all: to love. It is this verb that is responsible of all the most positive nexus that, one way or another, are established between human beings. Nonetheless the verb is conjugated in the past tense indicating that love is nonexistent in the present, it stopped sometime in the past. The essence of this love is a play of words associating the names Rick and Amé…rica. This play of words would insinuate the presence of the American culture through a lonely character that in a way would play the role as a cultural referent that is now part of a literary story but was ori- ginated in a cinematographic production that joined three cultures, the Moroccan, the French and the American, in the past. It also merges two artistic productions and two historical times. Casablanca represents in the film a place where the characters, fleeing war, converge in a place where they can seek a new route towards the reconstruction of their future. This future freedom seems to resist the access of new participants, as some kind of validation is needed and the com- petition to gain access to freedom is not only arduous but it is also marked by the deterioration of morals inherited from the war atmosphere of the time. In the film Casablanca, Rick is the jaded, lonely protagonist that lives by his iron-willed, active protection of his personal and political freedom. Paris is a flashback from his past when he was in love with Ilsa. She had left Rick when her husband returned from war after being considered dead for a while. Laszlo, a Czech nationalist, and political idealist imprinted into the private love story of Rick and Ilsa, a political engagement that also called for a personal engage- ment of Ilsa in the moral decision to stay by her husband. The concept of sacrifice is then incor- porated into the love story as the characters navigate the post-war era contrasting the innocent pathway of love and romance from the war time when they hold political engagements from an idealistic point of view, hoping to create a new society based on more stable foundations of justice and freedom for all. Rick’s mysterious past prevents him from going back “home” so he decided to self-sacrifice becoming a committed, self-sacrificing idealist contrasting his first war portrait as an innocent character and the later post-war cynical character. “Living against the current” generates in Rick a cynicism that replaces any manifestation of “love.” The whole story of Casablanca is then encapsulated in Amé…Rick in the essence of the cynicism of the protagonist that corresponds to the feelings that the author will use to convey his perception of the film and the global world of the XXI century. The narrative is subdivided into subtitled sections, which constitute a peculiar narrative structure, while it evokes the film composition of different shots that by their sequential com- position becomes a production. The use of different segments in each section of the narra- tive relates to the complex transliterary and transcultural space that the story will navigate, Morocco, America, and France. The author feels the need to guide the reader as the narrative “crosses several borders” in order to conduct a migratory trajectory that connotes danger and uncharted territories. The first subdivision of the narrative is described in English and in Spanish “Travelling sub- jetivo” (Cerezales 2004:58) The story starts with a trip that is taking place simultaneously to the literary narrative reflecting the filming immediacy of the action as it is watched by the public. The travelling action that is described using the English term is qualified by the adjective subje- tivo i.e., a journey taking place in the emotional and perceptive landscape of the intimate life of the protagonists. The trope of the travel is a metaliterary theme that participates not only in the narrative of the story but also in the collective Historical developments weaved in both the film