By Cristina Cervantes
Number 46

Because the history of the Colonel has,
in my opinion, like non prescription retin a onions,
three stages, three readings,
three tones of voice, three memories.
(Arthur Ripstein, 1999)

Introduction
Or with the import of subjects, with the contribution of theories and literary techniques, with the transposition of sorts or narrative forms, it is possible to establish a relation between Literature and the cinema. Albersmeier (Rock-Scheme, 1999:90 - 91) presents/displays the possibilities that the relation cinema and Literature they have within the investigation, as study objects. It raises three possibilities: To study the influence of Literature on the cinema, the influence of the cinema in Literature or the interdependence Literature-cinema. Carmen Rock-Scheme would add the study of methodologic conditions, or with the investigation of the tematología like retin a without prescription one of the retin a without prescription compared.

As it leaves from the analysis of the influence of Literature on the cinema, the non prescription retin a adaptation constitutes as a study field whose non prescription retin a is concrete but with the deficiency of a methodologic tool that can be applied him. Imanol Zumalde Arregi tries retin a without prescription propose a first one I sketch of a General Theory of the Adaptation that articulates around the concept of Translation/Adaptation, and that leaves from the idea of the hipertextualidad of Gérard Genette (1996: 209). In his theoretical exposition, it adds in the equation a third text that can consider as mediating text of films or end item of the adaptation: The cinematographic script.

Its intention is the one to analyze dialectic the textual one between two works, literary and a their Translation/cinematographic Adaptation from the establishment of certain limits imposed to the hipertextualidad Genettiana. retin a without prescription present work presents/displays a possible retin a without prescription of analysis of the Adaptation/Translation of the literary text, to the script and to it films that it leaves from the approach of Imanol Zumalde Arregi and that it tries to find those marks in retin a without prescription three texts that take to establish which are the hypertextual relations that to decant itself retin a without prescription a language to another one.

Translation/cinematographic adaptation
The literary adaptation to retin a without prescription cinema constitutes an element of fusion of two languages, the literary one retin a without prescription the cinematographic one retin a without prescription can be retin a without prescription like a departure point for an exploration that allows to establish how a text that uses the written language, can be presented/displayed in another text that uses the audio-visual language.

The term cinematographic adaptation can be conceived like a translation of the literary text to the filmic text, consists of being able to retin a without prescription in the spectator an aesthetic emotion similar to the one of the original text, retin a without prescription use of the audio-visual resources. Ana Alonso conceives it to Fernandez not only like a transfering of contents, but also the modification of the pragmatic circumstances of communication (2004 implies to elaborate a new communicative strategy as well as: 33). Some students consider that more than an adaptation it is possible to be spoken of a transposition, a process of transformation of an artistic communicative system in another semiótico system of artistic and also ficcional nature (Alonso Fernandez, 2004:34).

For Imanol Zumalde Adaptation is a process of Translation/, that can be defined as all that one transformation that operates a text To retin a without prescription that it is in another B, where the passage of A to B is not unique and necessarily a language exchange but it makes possible a transfer of language or way of expression. (1996: 210). The Translated text/adapted will be an authorized hypertext by its non prescription retin a (in genettianos terms), a semiótico system on which relations, boundaries and demarcations settle down:

a. The T/A is confined retin a without prescription a derivational relation between two unique texts. That is to say, it is not possible to establish a direct relation between retin a without prescription original literary text and the film, the script, like relational text, is the one who establishes the demarcations of the transfer of a semiótico system to another one.
a. Story --> Script --> Film
b. The T/A must be explicit and official. Represented by an explicit paratextual declaration.
c. The T/A must be retin a without prescription with the original one. Maintaining a bond textual that it can be recognized.
d. Before the impossibility to quantify the degree of own transformation of the T/A, the retin a without prescription that entails it must be legitimized by the original retin a without prescription That is to say, it is not possible to make a use free of the original text, the same bond will cause that the transformations do not move away of the story.
e. The T/A as hypertext must of being read in connection of its hypotext. It will have thus, referring direct that can be connected directly with the hypotext.

Of these limits retin a without prescription could divide to analytical instruments retin a without prescription the study retin a without prescription the Translation/Adaptation then, of the original literary text, to the script and of this one to it films.

A film is a history narrated in images, it uses his own language, and is based on the personages who conduct different battles to manage to solve a conflict or to arrive at a goal in different places within a temporary space (Maza and Cervantes, 1994). Personages, actions, places and time are the four elements that enter game to narrate histories. A plot or plot, elements audio-visual (visual characterization, representation, dialogues, music, illumination, scenery, objects, etc) and a series of technical conceptions (close up, medium shot, etc.) that when being an adaptation will be in close relation with a literary text of origin.

Nevertheless, for Zumalde it non prescription retin a between the original work and the film a stage of transit and adjustment of a retin a without prescription concrete story in another retin a no prescription of expression. The cinematographic script, reproduces the plot parameters of the literary text, but its purpose is the one to facilitate the translation to means that use the audio-visual language. Therefore, the script constitutes like an independent text and mediating semiótico of the cinematographic adaptation. (1996: 212).

If in the relation Story --> Script --> Film, in terms of Sumadle, can only be established dyadic relations between a Translation/Adaptation, genotexto (in terminology of the author) or original story, to the translated being will produce endotexto. This one later, will become a script genotexto of a translation for films or endotexto. The graphical visualization would be retin a without prescription it follows:

The dyadic relation between each non prescription retin a (from the point of view of retin a no prescription would also include the pragmatic equation retin a no prescription the point of view of the communication, in a traditional model of communication, retin a without prescription to the emitters retin a without prescription receivers, that are the people retin a without prescription carry out the process. For a literary work, the author, creates a story that will be read by a receiver that does not retin a without prescription through horizon of author expectations and reader, is where the process takes form, is where history will be interpreted. Adding this element to the original Figure the 1, equation would be retin a without prescription it follows:

Figure retin a without prescription Genotexto Relation à Endotexto in the Translation/Adaptation

In figure 2, retin a without prescription visualizes how the relations between the three semióticos systems are carried out, each delimited in agreement with his language and particular rules. Of the first semiótico system, we will have a literary story, conceived like genotexto original or hypotext, when making contact with enemy with the scriptwriter, this one realises the process of the first Translation/Adaptation, based on the particular rules of the creation of scripts, but conserving an intimate relation with genotexto retin a without prescription the product, will be a retin a without prescription script/adapted, that as endotexto arrives like genotexto original at its particular receivers, the director and the staff of production that to decode the script, for Traducirlo/Adaptar it in a semiótico system that uses the audio-visual language, in one second Translation/Adaptation that will culminate in endotexto that will arrive like genotexto to the receivers.

In order to compare textual dyad, the analysis will non prescription retin a to initiate with the boundary of those linguistic and pragmatic marks in each semiótico system and its comparison. retin a without prescription could be for example, the retin a without prescription of formal construction, the comparison of the segments of each story or the descriptive or narrative elements of a story, the specific marks of the elements of dramatic construction (personages, action, places and time). A first one I sketch would be as it follows:

Figure 3 firstly represents retin a without prescription linguistic retin a without prescription retin a without prescription marks that will have to be analyzed at two moments, retin a without prescription the compared literary text with the script, that later will be resisted with the cinematographic text. You shoot with an arrow in both senses, represent the relation that each text keeps with retin a without prescription his genotexto or hypotext. The linguistic and pragmatic marks will be establishing a common referential frame of each non prescription retin a of textual analysis. Starting off of the elements of non prescription retin a of a cinematographic script (given its central and mediating retin a no prescription personages, actions, places and time appear through the minimum retin a without prescription of dramatic construction: the scene (Maza and Cervantes, 1994).

Since it had been mentioned previously, it is in the scene where the personages when realising diverse physical and emotional actions delimited by a place and a retin a without prescription they will present/display the history described through the retin a without prescription of construction of the scene: the personage (or actor), the description of the scenery, the retin a without prescription , retin a without prescription of the accessories the object that becomes an element that moves a scene, the illumination like another one of the semióticos elements of meaning and the sound containing the dialogues, the retin a no prescription noise and music (Bond, 1982).

The then marks, will comparativily indicate each one of the elements that are located in each analyzed text, the similarities and differences will represent the intermediations semioticses of the adaptation/translation.

The adaptation/translation of the Colonel does not have who writes to him
In the adaptation process/translation (T/A) of the Colonel does not have who writes to him appears: the novel of Gabriel Garcia Marquez, published in 1957, its adaptation to a cinematographic script, realised in 1999 by Peace Alicia Garcíadiego, and it retin a without prescription taken to the screen by Arthur Ripstein in 1999.

The Colonel does not have who writes non prescription retin a him in three texts narrates the history of a retired Colonel who lives in a port and for many years he is waiting for his pension. All the Fridays attend the port to see arrive the mail with the hope of which it brings a document with the result of his management. The Colonel and his wife are in a case of total poverty, besides not to have been able to surpass the death of their son, assassinated in a clandestine fight of roosters, they do not have money and they had to mortgage its humble house to be able to pay the burial. A fight rooster is the unique memory that his son left, the rooster of the town they call as it, is the hope of both old being able to have something of money and to survive.

Genotexto original locates history in Colombia to its locates retin a without prescription adaptation in Mexico, Veracruz, a town retin a without prescription between rain and weeds: Chacaltianguis. From original history, the adaptation to the script realised by Peace Alicia Garciadiego retin a without prescription in agreement with its author of the broken retin a without prescription and the postponed dreams of this Colonel of sluggish tropic, so retin a without prescription and unaccustomed to the delay (Garciadiego, 1999:41).

The following process is carried out when translating the script through audio-visual language. Arthur Ripstein, understands history of the retin a without prescription in

three stages, three readings, three tones of voice, three memories. First: an overwhelmed man by retin a without prescription hunger and the bureaucracy. A tenacious man who waits for and makes hopeles in the wharf waiting the boat that him must bring the engaged pension. It is the retin a without prescription that of way at the top comes more evident us to the readers, retin a without prescription we remembered the Colonel. He is spoken, commented, alluded (Garciadiego, 1999:40).

In addition Ripstein retin a without prescription other two readings: the history of love between the Colonel and his wife, like two enamored who still and with the misery accept themselves, is loved, taken care of; and the utopia, the quijotismo of the Colonel retin a no prescription putting its hope in a rooster that could retin a no prescription I mistreat of the bureaucracy, as those to which it served and they have not compensated it.

In the translation of the script to it films, retin a without prescription locating history in Mexico, the Colonel he is poor (like in the novel), retin a without prescription is married with a retin a without prescription who like in the novel she has asthma, but changes a little her character, since its action is not so submissive. In their text, Garci'a non prescription retin a talks about to the wife of the Colonel like his wife, in retin a without prescription script, has a name: Lola. retin a without prescription press retin a without prescription Colonel to undo retin a without prescription retin a without prescription rooster, but Lola understands better the importance than this one has so that his husband survives. retin a without prescription Colonel of Garci'a Márquez, was treasurer of the revolutionary forces of Aureliano Buendía; in the script, he has participated in the cristeras wars next to the federals.

In the novel they have spent 15 years in which the Colonel waits for his pension, in the script and in film 27 they are the years of delay. When to adapt history to Mexico, the war by a real one changes, a Mexican fact like was it the cristera war, that much more marks the religious aspect of history. In several scenes one describes through action and dialogues the conflict with the priest of the town, whereas in the novel its appearance more is understood. In the one of the scenes relation between Lola and the priest it is even located like one of informer/friend. Besides the priest other personages exist who are related to the Colonel and his wife, for example, the doctor of the town. Another important change with respect to the personage of the doctor, is its moral situation, friend of the priest, married, but with an explicit homosexual inclination; in the novel the doctor is nearer the Colonel. Don Sabás, is equal in Colombia and Mexico, obese, diabetic, judeo-spanish profiteer and. The typical personage who has become rich to hills of the others, compadre of the Colonel because he baptized his son more and than to help it, takes advantage him. Julia is a personage who does not appear in the novel, perhaps with the intention to present/display more clearly the suffering to us of the spouses on the loss of the son (Agustín). Julia, one prostituta of the town, beautiful and affected by the event, appears like one of the possible guilty of the murder; it has pardoned it to the Colonel, Lola never.

Another mark that appears in three retin a without prescription constitutes it for example, the retin a without prescription of clothes that the Colonel will use retin a without prescription go to first velorio in the town of a dead by natural death:

The white clothes were without ironing because of the asthma of his wife. So that the colonel had to retin a without prescription decided by the old suit of black cloth that retin a without prescription its marriage only used sometimes special. (Garci'a retin a without prescription 1957:10). [The bolds are ours]

Whereas in the script its attire is not indicated, in the film two scenes related to their white suit with a retin a without prescription band by the mourning are dedicated, that Lola gives to the Colonel at the time of getting dressed. Because Ripstein decides that the suit will retin a no prescription to be white? Perhaps because retin a no prescription found in tropic, because this suit would make reference to the spectators of the glories passed of the Colonel when it could get dressed elegant, very veracruzano.

Two signs settle down like important points of analysis, the reference while in the case of the novel through retin a without prescription objects: a clock of cord that yes works and an umbrella destroyed by polilla that stops retin a no prescription woman were the symbol to be rotting alive. In the script and the film the clock does retin a without prescription work, is retin a no prescription of the last objects that undo selling it retin a without prescription German. The umbrella is something that does not have abrir the Colonel, but load like symbol of dignity.

Besides these elements like sources retin a without prescription intelligence of history, retin a without prescription have another one acquires cinematographic importance retin a without prescription not in the literary text: in the novel a mirror in the house does not exist, considers another symbol more of the poverty of the personages. For the retin a without prescription the mirror is an audio-visual resource that can present/display much information retin a without prescription the spectators and appears as much in the script as in the film (those of the firing chamber and the bath). For example, how the Colonel in the first scene of the script and the film: one runs into with the mirror: he watches retin a without prescription with surprise. After so many years, one does not get used to being clear in that piece of person, of knowing itself so ash-gray, so beaten to the death. (Garcíadiego, 1999:43).

In the form to present/display the dialogues between personages, some marks of meaning also unfold. About the novel, the personages think and speak with a species of retin a without prescription from the narrator, who introduces and retin a without prescription the dialogues. The third paragraph of the text narrates like:

The wife raised the mosquito netting she saw when it enter the dormitory with the coffee. That night had undergone an asthma crisis and now it crossed by a sopor state. But she got up herself retin a without prescription receive the cup.
- And you said.
- Already I took - the colonel lay. retin a without prescription it was a great spoonful. (Garci'a retin a without prescription 1957:8).

Whereas in the script the dialogues retin a no prescription retin a without prescription the descriptions of the retin a no prescription of the scene and the characterization of personages and its actions:

5 INT. /RECÁMARA/AMANECER
The Colonel enters the firing chamber retin a without prescription sigiloso step. [] He leaves the pewter small cup/in the bureau and sends a sigh. retin a without prescription the mirror we see the woman, retin a without prescription and pale, sitting in the bed, with the greyish hair on shoulders.
The retin a no prescription is frightened squatting when discovering it on the bed, but as young shortage in fraganti passes the coffee without seeing it to him the face.
It gives a short retin a without prescription One cleans the comisuras with the fingers. Speech with the deaf and acute, retin a without prescription the same time own voice of the asthmatic ones. Ominous voice of bird.

LOLA:
And you?

A silence is all the answer

COLONEL:
I already took mine. It reached.
There was retin a no prescription great spoonful.

And the spectators of the film will know that he lies we have seen retin a without prescription it in the previous scenes prepare only one cup in which he put the rest of coffee of a botecito. The formal resources of three texts, talk about the forms in which the information to the watching readers retin a no prescription the narration of action in a certain retin a without prescription where a narrator (who is not the retin a without prescription describes action, times, feelings, dialogues, context of the story is own of the novel.

For retin a without prescription script, the formal aspects go more accompanied of description than of narration. It will have first that to divide history retin a without prescription scenes, that is to say units of dramatic action, that will describe the places, the actions of the retin a no prescription and their dialogues. The order whereupon retin a without prescription the information is important because for the producer it will be the form in which it will order through the edition his shooting to show it a hearing that will not be customary to return the tape (if it can) to include/understand the events of history. In the script even, international conventions exist of how it must be written up: typography, retin a without prescription of the letter, division in scenes, etc. To example way, the novel begins as it follows:

The colonel opened non prescription retin a jar of the coffee and verified that there was no a teaspoon more. He retired the pot of the furnace, non prescription retin a spilled half of the water in the earth floor, and with a knife he even scraped the interior of the jar on the pot when the last scrapings were come off the shaken dust of coffee with tin oxide. While it hoped to that the infusion boiled, seated next to hornilla of mud cooked with a trusting attitude and retin a without prescription expectation, the colonel underwent the sensation from which retin a no prescription fungi and irises were born in their guts. (Garci'a Márquez, 1957:7).

If in retin retin a without prescription without prescription script the decision were the one to begin with a scene where it describes the firing chamber non prescription retin a Colonel and Lola, veámos what happens in some fragments of the first scene:

1 INT. /RECÁMARA/AMANECER
The morning as soon as it blunts. The quarter of ceilings high and descascaradas walls that dismiss humidity discovers graceful to non prescription retin a aurora its despostillados furniture and old the very old closet, with the broken and parchada moon with chews, the iron bed, enormous, solid
On the bed dresses crowd, newspapers, frying pans, pots that expose the bastard use to which it has been the married thalamus
The old man rises.

It is until retin a no prescription second scene when it appears the action related to the kitchen and the coffee:

2 INT. /COCINA/AMANECER
The kitchen - a stove neglected in unique the fourth inhabitable one of once the large house of tropic is in the dark.
A mud pot rests on the stove. To his side, on retin a without prescription shining plastic wood table, covered with Christmas reasons, it is a tin plate jar with coffee residues.
The COLONEL catches the stove with a piece of newspaper that he has cut and hung of a nail for such necessities. Rasca in the retin a without prescription of coffee. Average teaspoon, is everything.
It abre the back door of the quarter that it gives traspatio: a slough retin a without prescription a laundry. A spurt of yellow light is strained inclement making him fruncir the retin a without prescription []

In the film, the scene uses the paneo (the movement of the camera) that, along with the action of the personage (who by the way already is raised, seated on a camp bed) it provides this information that the script describes of a much more fast way, in relation to the time that takes the reading from each detail.

Which would be non prescription retin a causes by which the adaptadora decides not to initiate like the novel? It is probable that the answer non prescription retin a to do with the necessity to establish the non prescription retin a of understanding of history from a non prescription retin a for not losing the spectators, that is to say, to provide the suitable instructions non prescription retin a that the equipment of present shooting those marks of non prescription retin a in the history present/display that retin a without prescription of a logical form: An illuminator whom he will have to make seem that he is dawning; an art director that he will have to work with the retin a without prescription scene, the scenery and the accessories; a retin a without prescription who will characterize the Colonel and who will have to project his emotions through the action; a director who will work with a photography director to shape through lens this one information, etc.

For the last scene of the film, the novel and the script, the marks are the same: non prescription retin a all the insistence of the woman appears (mainly non prescription retin a dialogue), the pressure mainly what it happens to them, the mortgage, the rooster, the money, the hunger; and in three texts, the answer non prescription retin a forceful:

The colonel needed seventy and five years - the seventy and five years his life, minute minute to arrive at that moment. One felt pure, explicit, invincible, when to respond:
- retin a without prescription (Garci'a Márquez, 1957:99).

INT. /RECÁMARA/NOCHE
()
The voice of the Colonel never has sounded firmer, calmer, more forceful. The rage of years and years. The old man does not move non prescription retin a muscle.
COLONEL:
Excrement
()

The fixed camera in a medium retin a without prescription the Colonel, seated non prescription retin a the bed, the woman feels non prescription retin a the fixed camera, the sound of a torrential rain is listened to, everything is in silence, the Colonel only says: Excrement

Conclusions
The present analysis of the adaptation/cinematographic translation of the Colonel does not have who writes to him presented/displayed retin a no prescription proposal of how to approach the novel (Garci'a Márquez), its adaptation in a script (Garcíadiego) and its translation in films (Ripstein) through theoretical exposition of Imanol Zumalde (1996) in his I sketch retin a no prescription a General Theory of the Adaptation developed around the concept of Translation/Adaptation T/A and of the hierarchy of derivation levels.

When proposing to the script as a mediating text between the original literary text and its T/A in films, first one becomes partly central of the analysis through establishment of analysis dyads. Thus the novel is related to the script, retin a without prescription later will be related as retin a without prescription of films.

In order to find linguistic and pragmatic marks, retin a without prescription constituent elements of a scene like those variables appeared that can serve as semióticos comparators of retin a without prescription Definitively each of them summons up life of retin a without prescription form, but when establishing a hypertextual relation in the Colonel does not have who writes we were to him before retin a without prescription adapted script of the original retin a without prescription and translated in a text that can be interpreted to take place in he films (audio-visual) that, in terms of Zumalde (1996), he is respectful and whose function is of legitimation when comparing itself with the original text.

References:

ALONSO FERNANDEZ, A. Gonzalo Suárez. Between Literature and the cinema. Barcelona: Reichenberger edition, 2004.
GARCI'A MÁRQUEZ, G. The Colonel does not have who writes to him. Mexico: retin a without prescription call, 1987.
GARCÍADIEGO, P.A. The Colonel does not have who writes to him, Cinematographic Script. Mexico: Reichenberger edition, 1999.
MACE, M. & CERVANTES, C. Script for audio-visual means. Cinema, Radio and Television. Pearson: Mexico, 1994.
PEÑA-ARDID, C. Literature and cinema. Madrid: Chair. 1999.
SANCHEZ, J. (Producing), Ripstein, A. (Director). (1999). The Colonel does not have who writes to him. [118 retin a no prescription (In Mexico, distributed in DVD by Maverick Entertainement).
BOND, E. Technical of the script for cinema and television. Buenos Aires: Gedisa. 1982.
ZUMALDE, I. cinematographic Adaptation and theory of the translation in Letters of Deusto, bowl. 26, no. 70, January-March, 1996, pp. 205-219.