In a biopic of Lee’s life named Dragon: The Bruce Lee Story, was released in 1993 in which Jason Scott Lee represented Bruce Lee.
In April 2007, Chinese state media declared the starting of a 50-part TV series, titled The Legend of Bruce Lee to endorse Chinese Culture for 2008 Beijing Summer Olympics. Broadcasted on CCTV on 12 October 2008, it starred Danny Chan, a Hong Kong actor, as Lee.
A film entitled Kowloon city on Bruce Lee’s early years in 1950s Hong Kong was announced to be made by Fruit Chan on August 22, 2007 and produced by John Woo’s producer Terence Chang.
Stanley Kwan declared that he was talking with Lee’s family to make a biographical film on Lee which will stress upon the affect of absence of Bruce Lee’s father on his life and how Bruce nurtured his son, Brandon Lee.
A biographical biopic of Bruce lee, “Bruce Lee, My Brother”, directed by Raymond Yip and Manfred Wong, was released on 27 November 2010, within a couple of days before his 70th birthday, starring Tony Leung Ka Fai, Michelle Ye, MC Jin and Christy Chung.
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Developing these critiques, P. David Marshall (1997) talces a neo-Marxist approach in arguing that modern celebrity is a direct product of late-capitalist society. For him there is a ‘convergence in’the source of power between the political leader and otller forms of celebrity’ (1997: 19). Marshall argues that celebrities and politicians are commodities sold .to audiences, and the relationship developed in capitalist societies between the ‘leader’ and the ‘crowd’ is central to
the creation of both, suggesting that ‘in the rationalization of the social, the celebrity . . . celebrates ithe potential of the individual and the mass’s support. Of the individual in mass society’ (1997: 43). According to this argument, both
celebrities and politicians promote similar myths of individualism, and construct a.public forin of subjectivity that expresses freedom and aspiration in a capitalist democratic society.
Bruce’s exceptional Martial arts talent soon spread in the world like wildfire and he became aware of the fact that he could earn by his skills of Martial arts. Later, he started the Jun Fan Gung Fu Institute in 1963 at 4750 University Way in Seattle. He expected it to become a large chain of Kwoons, with the joining fee of $22 per month.
在李的生活的传记片命名为龙：李小龙的故事，发布于1993年中，贾森·斯科特·李表示，李小龙。
2007年4月，中国国家媒体宣布开始的50集电视系列，名为“李小龙传奇2008年北京奥运会对中国文化的认可。 2008年10月12日在中央电视台播出，陈百强，香港演员出演，李。
一个电影“李小龙早年在20世纪50年代香港九龙城宣布被陈果2007年8月22日，由吴宇森的制片人张家振。
关锦鹏宣布，他跟李的家人作出对李的传记电影将强调在没有李小龙的父亲对他的生活和布鲁斯培养他的儿子李国豪的影响。
李小龙的传记片，一本自传“李小龙，我的兄弟”，导演叶伟民，文隽，发布了2010年11月27日，在他70岁生日前几天，主演梁家辉，叶璇，MC金钟丽缇。
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开发这些批评，P.大卫·马歇尔（1997）认为，近代名人talces一个新马克思主义的方法，是晚期资本主义社会的直接产物。对他来说，是一个’的收敛in’the源之间的权力的政治领袖和otller形式的名人“（1997：19）。马歇尔认为，名人和政客销售商品。观众，和之间的“领导者”和“围观”，在资本主义社会发展的关系是至关重要的
创造的合理化建议“的社会，名人。 。 。庆祝ithe潜在的个人和群众的支持。个人在大众社会“（1997：43）。根据这种说法，无论是
名人和政客的个人主义，促进相似的神话，并构造a.public在资本主义民主社会的主体，表达自由和愿望forin。
布鲁斯的特殊的武术天赋很快在世界上像野火一样蔓延，他意识到的事实，他可能赢得他的武术技能。后来，他开始振藩傅研究所于1963年在西雅图在4750大学路。他希望它成为一家大型连锁的Kwoons，入会费为每月22元。
