The femme fatale Rosario Tijeras in the intersemiotic scope of literature and cinema

Abstract

This article aims to discuss the intersemiotic translation of the Colombian novel Rosario Tijeras, by Jorge Franco, into the homonymous feature film directed by Emilio Maillé. An examination of the novel's structure and some expressive elements of the film is made. The study uses the trichotomy of firstness, secondness and thirdness from Peircean Semiotics to problematize the redefinition of five signs: the narration, the character Rosario, sexual violence, religiosity, and the triadic relationship among Antonio, Rosario, and Emilio. The results demonstrate that the expressive elements of cinema, such as the plane, cut, camera movement, and music resignify or reaffirm interpretations about the compositional units of the novel in the creation of a new work of art.