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This study examines how Eugene O'Neill's plays have been adapted for the big screen, highlighting the interactions between his theatrical legacy and American culture. It looks at O'Neill's impact on the development of cinematic techniques, the historical background of his work, and the cultural value of his dramas. A critical evaluation of Sidney Lumet's The Iceman Cometh (1960), television production and The Hairy Ape (1944) is used as a case study to demonstrate how well O'Neill's stagecraft was adapted for the big screen. The essay also explores O'Neill's own opinions regarding his plays' adaptations, contrasting his disapproval of the first movie adaptations with his admiration for John Ford's interpretation in The Long Voyage Home (1944). Through an examination of the performative aesthetics maintained in the adaptations, this research illuminates the relationship between household, horizon and theatrical settings as well as the ways in which O'Neill's work speaks to larger themes in American culture. The purpose of the article is to advance knowledge of O'Neill's ongoing influence on theatre and film.
Rity Choubey (Tue,) studied this question.