This dissertation aims to bridge a gap in the studies of Hong Kong cinema by chronicling women authors’ trajectories and assessing their contributions to Sinophone cinema and women’s cinema in a global context. Beginning with a chapter tracing the lineage of women screenwriters and directors from the 1930s, I will first identify the key players from 1933 to 1996, exploring the socio-historical background for their emergence and investigating their working conditions in the film industry of their times. The second chapter examines the new paradigms in, and the development of,the post-1997 Hong Kong film industry, with a focus on the lineage of women writer-directors and their works. The last two chapters focus on the thematic concerns and film languages of women authors by analyzing eight films by four female authors whose directorial debuts came after 1997. Respectively born in the 1950s, 1960s, 1970s, and 1980s, Ivy Ho, Aubrey Lam, Jessey Tsang, and Heiward Mak took up screenwriting and/or directing, and their works are unique in their own right. However, their works clearly show the geocultural characteristics of Hong Kong. Incorporating approaches in feminist film studies, Hong Kong film studies, and cultural studies, I closely read their film texts to examine how they establish subjectivity in female roles, portray women’s lives, and reflect on women’s self-realization. Moreover, while advancing cinematic language in depicting women’s desires with visions and voices, they are able to represent a gendered perspective in both film space and narrative. Through the historical reviews and case studies, I construct a relatively complete history of Hong Kong women’s cinema and summarize its characteristics. By doing so, I am able to confirm the intergenerational continuity of women authors and their achievement in identifying “local” expressions in the context of world cinema and women’s cinema.