This paper fittings at Discussing the visual symbols as well as aspects covering performance, the historical accreditation, the teleplay, and the direction in Franc Roddams’s 1998 television miniseries ‘Moby Dick’, adapted from Herman Melvil’s homonymous novel (1851). The two-part television production incorporates a few symbolic elements not necessarily present in the source text. These symbols (the image of a dog, the evocation of a giant, a whale-shaped mark, a great fire and an underwater corpse) are visually associated with characters as diverse as Elijah, Ahab, Queequeg and Moby Dick. The investigation reasons thus on the possible Interpretations suggested by these visual synergies and how they contribute to better our understanding not only of these characters but also of the complex themes of death, power, east, exit, among others. Summary This objective work discusses visual symbols as well as aspects such as actuations, seasonal reconstitution, rotation and realisation in relation to the ‘Moby Dick’ television minisserie (1998), an adaptation of Herman Melville’s homonymous work carried out by Franc Roddam. Television production, divided into two episodes, incorporates certain symbolic elements not necessarily present in the source text. These symbols (the image of a dog, the evocation of a giant, a whale brand, a large fire and a submerged body) are visually associated with characters as diverse as Elijah, Ahab, Queequeg and Moby Dick. Research therefore focuses on the possible interpretations suggested by these visual symbols and how they contribute to our understanding of such characters and complex themes addressed in the novel such as death, power, bad, redening, etc. Keywords: Adaptation studies; American literature; Herman Melville; Moby Dick; Symbol