[Reading Response] Seng, E. (2020). Noirs: The City, the Woman and Other Spaces. In Resistant City: Histories, Maps and the Architecture of Development (pp. 60-77). World Scientific Press.

The reading by Seng E. has shown that movies always reflect the historical background of their place of origin. In Hong Kong, though her filming has been greatly influenced by external factors, especially political ones. In addition, it did reflect some challenges and problems faced by people at that time and the ideal future for them. Seng suggests some examples like The Black Rose, the Elevator Girl, The Forsaken Love, etc. These two movies provided dramatic solutions for women who want relief from the grassroots. Seng comments on such movies as reinforcement of sexual stereotypes, which are ‘expectations of the predominantly Chinese patriarchal society’.

Movies in the era reflect the characteristics of the decades for sure. Quoted in Seng, Hannah Arendt claims that modern society has liberated the working class along with women. Historically, China’s modernization path was slower than that of Western countries. When immigrants from mainland China continuously move to Hong Kong, they bring their traditional values to Hong Kong and merge them with Western values. Traditionally, Chinese patriarchal society’s expectations towards women are keywords like The Three Obediences and Four Virtues (San Cong Si De). In its peak (Last Ming and Qing dynasties), women need not bear any social responsibility. However, the movies imply women should make an effort towards the socio-economy. Moreover, though the final salvation is mainly offered by a rich and handsome boss, the movies admit the efforts and talents of women. In today’s view, this is undoubtedly objectifying women, however, in the 1950-60s, liberating women from motherhood should be a sea change, in some sense it is violating the traditional values.