本文爲「電影藝術中的東方修辭視覺化研究」，目的在於「視覺修辭」的分析呈現，此研究方法嘗試將視覺文化領域裡，常涉及到複雜龐大的文化概念一一加以分類，分析文化概念與視覺印象將其濃縮爲一個個基礎單元修辭；另一方面，研究文本性質爲「電影」，作者進行分析視覺修辭過程加入電影符號學的思考技術佐以分析，這些研究的過程在主論第四章、第五章呈現出分析結果。研究內容部份，設定在東方體裁電影，電影中的視覺識別主修辭符號爲李小龍，依照功夫片類型的語彙特徵與屬性，將第一階段的修辭分析初步分類爲「主修辭」、「動態修辭語羣」、「靜態修辭語羣」。其中，「動態修辭語羣」內容爲「演員肢體語境」，此爲本文針對武打動作片所獨立設定的語意羣，李小龍於華盛頓州立大學就讀時主修哲學，哲學對他的影響也反映在他的著作與他在傳授武術時，那些深富哲思的心法要訣的言語裡。本文即以李小龍自身宣揚的「截拳道」精神，以東方哲學、美學的觀點，賦予武學修辭的視覺思想語羣。 結論就電影符號理論中，就「符號的歷時性」、「符號的共時性」、「符號的多元性」三層面，指出李小龍這個符號如何再現至東方視覺修辭體系之進程。

This study aims to analyze the visual rhetoric of this movie, Dragon: The Bruce Lee Story, categorize the big cultural concepts, and then reduces the cultural concepts and visual images into a condensed and fundamental unit rhetoric. On the other hand, the text of this study is ”movie,” in which the researcher analyzes and proves by the visual rhetoric with the semiotics of the cinema. Chapters IV and V are my main argument and result. The content of the study is to limit in the Eastern films. The visual identification of the main object rhetoric is Bruce Lee. Then, according to the semiotic genre and characteristics of martial arts movie, this research categorizes the initial steps into ”main object rhetoric,” ”motion rhetoric,” and ”still rhetoric.” The content of motion rhetoric is the actor's body gestures, which is the particular section set for the action movies. Bruce Lee is significantly influenced by the Eastern Philosophy, the subject he majors at the Washington State University. The Eastern Philosophy is significantly reflected on his works and teaching of the martial arts. The spirit of Jeet Kune Do, which Bruce Lee strives to promote, is endowed with the visual thoughts from the eastern philosophy and aesthetics. My conclusion is-in terms of the signs diachronical, synchronically, multiple-to indicate how the sign of ”Bruce Lee” is represented in the Oriental visual rhetoric.