Abstract
Drawing from Deleuze and Guattari's description of the rhizome, this essay works toward defining an aesthetic framework for understanding the Hong Kong action film, specifically Bruce Lee's Enter the Dragon. In it, I argue that Lee deliberately strips the film of its dramatic import to highlight the surface quality of the martial contact enacted in it. To explore this performance of his mystical-seeming philosophy of martial arts, I apply a Deleuze–Guattarian conceptual vocabulary to the film's dialogue and action sequences, arguing that Lee constructs his characters as rhizomatic “bodies without organs” in an effort to articulate a non-narrative, motional cosmos corresponding to Bergsonian dureé.
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