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An American Futurism?: Corporeal History in O'Neill's The Hairy Ape and Santell's Film Adaptation

An American Futurism?: Corporeal History in O'Neill's The Hairy Ape and Santell's... <p>ABSTRACT:</p><p>The article examines how O&apos;Neill&apos;s 1922 play interrogates Italian futurism and dismantles that movement&apos;s idealized machine–man corporeality as a formal idiom and historiography. O&apos;Neill&apos;s play, broadly about the dehumanizing effects of industrialization, more specifically concerns the grammar of selfhood and strategies in self-representation as they regard understanding one&apos;s embeddedness in larger economic, social, and semiotic networks. Drawing from the Irish revival, O&apos;Neill&apos;s play forwards an enchanted model of exogenous personhood. By comparing the play with Alfred Santell&apos;s odd 1944 film adaptation, the article concludes by discussing the film&apos;s attempt to render "O&apos;Neill" as a literary celebrity and popular template for a romanticized, working-class masculinity in the context of World War II. The adaptation rechannels the play&apos;s class consciousness into an affirmation of masculine power and individuality. The analysis concludes by showing how the film revisits and remediates the play&apos;s formal commitment to heroic individualism as a premise for an anachronistic economic fantasy.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Eugene O'Neill Review Penn State University Press

An American Futurism?: Corporeal History in O&apos;Neill&apos;s The Hairy Ape and Santell&apos;s Film Adaptation

Eugene O'Neill Review , Volume 39 (1) – Apr 24, 2018

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Publisher
Penn State University Press
Copyright
Copyright © The Pennsylvania State University
ISSN
2161-4318

Abstract

<p>ABSTRACT:</p><p>The article examines how O&apos;Neill&apos;s 1922 play interrogates Italian futurism and dismantles that movement&apos;s idealized machine–man corporeality as a formal idiom and historiography. O&apos;Neill&apos;s play, broadly about the dehumanizing effects of industrialization, more specifically concerns the grammar of selfhood and strategies in self-representation as they regard understanding one&apos;s embeddedness in larger economic, social, and semiotic networks. Drawing from the Irish revival, O&apos;Neill&apos;s play forwards an enchanted model of exogenous personhood. By comparing the play with Alfred Santell&apos;s odd 1944 film adaptation, the article concludes by discussing the film&apos;s attempt to render "O&apos;Neill" as a literary celebrity and popular template for a romanticized, working-class masculinity in the context of World War II. The adaptation rechannels the play&apos;s class consciousness into an affirmation of masculine power and individuality. The analysis concludes by showing how the film revisits and remediates the play&apos;s formal commitment to heroic individualism as a premise for an anachronistic economic fantasy.</p>

Journal

Eugene O'Neill ReviewPenn State University Press

Published: Apr 24, 2018

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