The process of constructing an image such as in the action of collective memory allows the formation of images, linguistic expression, and processes of identity that leave their mark over the time. The narrative organization of a story adapts the corporeal visual unit to the distinct expressive substances and to the structural possibilities of the stories in their adaptation from literature to film and to telenovelas (soap opera). In each adaptation, changes are made where the intertextuality and the intersemiotics act as strategies in the interpretive cooperation of the receptor, using complex visual processes. The body emerges as a part of a semiotic material available to narrate the events and it becomes the principal organizer of the meaning. The body is the instrument and the means at the same time. The meanings of the concept of bodyness and the semantics matrixes are manifested in television fiction and are identifiable due to a semiotic analysis of the story. In this way we observe that it refers to a condition present in the body that permits the identification as part of a process of perception.