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Ghosts (Magill’s Literary Annual 1991-2005)

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Is it that Anthony Hopkins has become so powerful and pervasive an icon of contemporary culture that it is no longer possible to see the world that stretches from The Silence of the Lambs (1991) through Howards End (1992) and The Remains of the Day (1993) to Shadowlands (1993) except through his, which is to say his characters’, eyes? Or is it, rather, that the repression for which Hopkins is surely cinema’s modern master has become so pronounced an element of postmodern culture, the flip side as it were of late capitalism and carnival excess, the...

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