In Seng’s Passage “Noirs: The City, the Woman and Other Spaces”, Seng introduces noir thriller genre during Hong Kong’s 1960s. One intriguing part of Hong Kong noir thriller films is the use of female vigilante as protagonist, as Seng mentions the film Black Rose as an example. Coincidentally, Jane Bond series latter came to the scenes in 1975 but different from Hong Kong’s female protagonist leaded films. During the age of modernization in Hong Kong, advance in both technology and thinking advocated the rise of feminism , which symbolized in the increasing number of women labor. Hong Kong women’s space is no longer limited to their private rooms, but expanded into their working spaces such as factories, teahouses, restaurants, and buildings. Unlike female protagonists in the Jane Bond series in which most female images under stereotypes and male gaze, female vigilantes in Hong Kong’s noir thrillers were representation of Hong Kong’s rising women involvement in the society. Their double identity differentiates women characters in the cinema from traditional sexualized objects to individuals with amplified images of feminism.
Jingni Xie, 3036104307
Excellent summary of Seng’s writing. Your interpretation of the role of women in the modernization process of Hong Kong is very sensible. However, I would also like to hear more of your personal thoughts, e.g. why do you think film is used as a medium to reflect the shift in the role of the women? You need to sharpen your own reflection and include it in your response.