suggestive image of a train entering a tunnel, used by director Alfred Hitchcock in his film North by Northwest. (1959) Style Barton Fink uses several stylistic conventions to accentuate the story's mood and give visual emphasis to particular themes. For example, the opening credits roll over the Hotel Earle's wallpaper, as the camera moves downward. This motion is repeated many times in the film, especially pursuant to Barton's claim that his job is to "plumb the depths" while writing. His first experiences in the Hotel Earle continue this trope; the bellhop Chet emerges from beneath the floor, carrying a shoe (which he has presumably been polishing) suggesting the real activity is underground. Although Barton's floor is presumably six floors above the lobby, the interior of the elevator is shown only while it is descending. These elements – combined with many dramatic pauses, surreal dialogue, and implied threats of violence – create an atmosphere of extreme tension. The Coens explained that "the whole movie was supposed to feel like impending doom or catastrophe. And we definitely wanted it to end with an apocalyptic feeling." The style of Barton Fink is evocative and representative of films of the 1930s and 1940s. As critic Michael Dunne points out: "Fink's heavy overcoat, his hat, his dark, drab suits come realistically out of the Thirties, but they come even more out of the films of the Thirties." The style of the Hotel Earle and atmosphere of various scenes also reflect the influence of pre-World War II film-making. Even Charlie's underwear matches that worn by his filmic hero Jack Oakie. At the same time, camera techniques used by the Coens in Barton Fink represent a combination of the classic with the original. Careful tracking shots and extreme close-ups distinguish the film as a product of the late 20th century. From the start, the film moves continuously between Barton's subjective view of the world and one which is objective. After the opening credits roll, the camera tilts down to Barton, watching the end of his play. Soon we see the audience from his point of view, cheering wildly for him. As he walks forward, he enters the shot and the viewer is returned to an objective point of view. This blurring of the subjective and objective returns in the final scene. The shifting point of view coincides with the film's subject matter: film-making. The film begins with