This chapter wraps up the book’s arguments and reiterates that there appears a mechanism that enables a different relationship between the films and the audience. It can be seen that a type of differences, in comparison with American films noirs and neo-noirs, have been recurrently made to the mainstream cinema of Hong Kong since the ‘60s or even sooner. In this book, I have offered analysis of the films with regard to the generic characteristics that nevertheless share intricate differences. I summarize the way in which the transcultural genre amalgamation takes effect for new meanings and reflexive pleasure to come. Unlike classical films noirs, the Hong Kong approach is hardly misogynistic, and the human relationship portrayed is hardly destructive. In these stories, human society may, therefore, enjoy a glimpse of hope. With a broader sense of humanity and a brighter world view, the cinema has successfully popularized or ‘glocalized’ a unique Hong Kong Chinese value.