The first section will explore the representation of women in 1930s film, concentrating on how women were objectified. The second section will focus on how 1930s cinema, pre-code, portrayed women as having to choose between a career and love. Section 3 will look at the role of women in 1930s film and theorise that some women, notably Norma Shearer, could transcend stereotypes. Finally, I will explore how women’s roles in the cinema evolved from the beginning to the end of the Depression, and section 4 will examine criticisms of women in 1930s cinema and Section 5 will be a conclusion. Annotated Bibliography Berry, S. (2000). Screen style: Consumer fashion and femininity in 1930s Hollywood. Minneapolis: University of Minnesota Press New. This book will be useful in assessing the impact of the 1930s films as it details how Greta Garbo, Joan Crawford and Marlene Dietrich influenced women filmgoers as role models of self-determination, and shows why the public is fascinated with these strong-willed women and others. Dawson, J. E. (1995). Hollywood’s image of the working woman. Las Vegas: University of Nevada. This dissertation will facilitate to explore the roles, which women have taken on the silver screen, how women are portrayed, and psychological aspects and influence of films to women. Feuer, J. (1993). The Hollywood musical. Bloomington: Indiana University Press. This book will assist in the understanding of the origin and evolution of the Hollywood musical, as well as how it has affected society over the years, especially the chapter ‘Dreamworlds and dream stages’, which details how Hollywood musical provided audience with escapist entertainment from the difficulties of war and depression faced in the 1930s. Kolbjornsen, T. K. (1998). ‘Dansingi Hollywood: punktnedslagi film-musikalenshistorie’, dissertation, Villanova University, Philadelphia, PA. This dissertation explores musical film aesthetically and how spectators are transformed by the experience of watching these Hollywood musicals such as Busby Berkeley shows in the 1930s and an exploration of dance as an aesthetic sign and discussion on how women are transformed into kinetic ornaments. Lovasz, K. (2007). Technologies of self-presentation: Women’s engagement with mediated representation from the era of silent film to the Internet age. dissertation, Princeton University, Princeton, NJ. In this dissertation, Lovasz explores identity theory, which explains how women relate to patriarchal culture, by exploring a woman’s imagined and virtual cultural experiences, including those of film. Davies, C. (1988). New women, new culture: The Women’s Weekly and Hollywood in Australia in the early 1930s. Dissertation Brisbane: Griffith University Press. This book is very important in this research as it explores how the new woman, from the period, after the censorship policy came into play, came to be and how she affected culture, including how women were portrayed on the silver screen, and it examines how the Hollywood portrayal of women in the 1930s affected women in Australia. Siegel, M. B. (2009). ‘Busby Berkeley and the projected stage’, Hudson Review, vol. 62, no. 1, pp. 106–114. In this article, Siegel discusses some of the films of Busby Berkeley, a filmmaker of the 1930s who pioneered dance movies, which reveals his projected dance dreams. therefore, it will assist in assessing 1930 films.