In the previous chapter, I stated that King Hu and Zhang Che were the two most recognised directors of the new school wuxia movement. To Hu, the wuxia genre was a vehicle with which to transmit his thoughts on the historicist model of the female knight-errant in at least two key films of the movement, Come Drink With Me and A Touch of Zen. Zhang Che on the other hand fashioned the masculine identity of xia as a heroic archetype in the Hong Kong cinema and changed its culture of the feminised leading man that had prevailed for nearly two decades. Zhang saw the wuxia genre as a reaction against the Hong Kong cinema's conservatism as well as against the staid norms of the genre itself, particularly in the depiction of xia heroism which he interpreted as a predominantly male form and activity. Given that Hu is generally recognised for his self-fashioning identification with the female knight-errant, it is worth asking whether the prominence he gave to the female knight-errant was eventually a reaction against the trend of the masculine hero which gathered momentum under Zhang's direction. At the same time, it is also worth investigating how the male and female knight-errant archetypes interacted with each other in his films.