ABSTRACT
More has been written about Bruce Lee (Li Xiaolong, 1940-73) than about any other Chinese star. In popular culture, he is the subject of biographies, philosophical texts, websites, wall calendars, posters and even folk songs. In film studies, Bruce Lee and his films have been the subject of many excellent studies that typically take as their object of analysis Lee’s masculinity and/or his Chineseness (Chiao 1981; Kaminsky 1982; Tasker 1997; Teo 1997: 110-21; Chan 2001; Berry and Farquhar 2006: 197-204). These studies of the Chinese male body have provided valuable insights into issues of Hong Kong identity, diaspora and cultural nationalism as manifested in the 1970s. An alternative approach is proposed by Melanie Morrissette, who calls for scholars to pay more attention to Bruce Lee’s fight choreography (2005: 58-9) and M.T. Kato (2007) has more than answered that call.
