Seite - 126 - in Mobile Culture Studies - The Journal, Band 4/2018

126 Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures authenticity and identity respecting the political and cultural frameworks of the transcultural space that does not delete the individual identities but rather hosts them, giving each partici- pant not only a space, but also the freedom of expression and the right to participate in the dialogue that keeps on inviting rather than restricting. The main character Rick is timeless so it seems to be out of place in a discussion when time in its chronological line is discussed. The accusation seems to be directed to the anachronistic insertion of a character that in order to be placed outside of time, he should have had to conquer that place “above” History and not just be assigned to him. A characteristic that normally elevates people or events above History seems to diminish Rick due to a lack of effectiveness. In a certain way, Rick becomes less than the Moroccan extras that were “placed” in Casablanca as objects rather than subjects or cha- racters. The line of time becomes blurry and the historical events are represented instead of by the events of war rather by the events that had repercussions in the lives of the citizens that were forced to navigate structures within a local and an international cultural and political unstable circumstances amidst the acceleration of time that somehow leaves Rick outside of the regular negotiations of personal freedom. It seems that Rick stays jailed in himself and time expels him from History while the cinematographic world saves him by placing him in the timeless world of art. He is condemned to be observed or admired or hated with no agency in the literary discussion of the next century. The author indicates that History and the reality imprinted in the cinema create confusion. As time goes by it seems that both enter in competition and films are endowed with a more robust sense of reality than History records convey. “Qué lejos, inolvidable Rick, pero qué cerca también. Qué cerca porque Casablanca, como si permaneciera fuera del tiempo, luce todavía su reputación de lugar de trán- sito, y aunque los candidatos al viaje de salvación ya no son los mismos y el docu- mento exigido se llama hoy visado, resulta inevitable conceder que historia y cine a veces coinciden y se confunden.” (Cerezales 2004:59) “So far, unforgettable Rick, but so close at the same time. So close because Casa- blanca, as it would stay outside of the realm of time, it displays a reputation of a place of transit, and even thought the candidates for the journey or travel towards salvation are no longer the same that required document is now called a visa, it is unavoidable to con- cede that History and cinema sometimes coincide and they get confused.” (Translation by the author) The author then approaches both times and cultural events by pointing to the shared charac- teristic that Casablanca in the film and today constitutes a place of transit. In this way, the subtitle “travelling” acquires a new and deeper meaning. It becomes a dialogue of travelers in a globalized world that ceased to see it as divided parcels but rather a place of transit where people seek to find better realities and better places for individual lives rather than a political agenda with more collective connotations or repercussions. The only stable element between both transcultural productions like Casablanca and Amé…Rick is the fact of being a place of transit and encounters. Each tells a story constructed according to the worldview of the cen- tury that produced it. The author also seems to attempt to correct the first partial intercultural event depicted in the film Casablanca since an unequal dialogue characterized it, where a more powerful position managed to silence “the other.” The “timeless Rick” becomes the “unfor-