Lee, a freelance curator, critic and the co-founder of dGenerate Films, the only specialty distributor of Chinese independent films in North America.
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The Chinese market is large enough that films made there don't need Western appeal to make big money.
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The Chinese release was probably delayed to give domestic films a better chance of box office success, says the BBC's John Sudworth in Shanghai.
The popularity among Chinese of South Korean television serials, films and music, as well as South Korea's proximity to China, work in Seoul's favor.
Chinese films now are no longer influenced by the ideals of European humanism.
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Andrew Cussens, of Bloomsbury Films, records fairy tale English style weddings for the richest of Chinese visitors.
While foreign films accounted for only a quarter of the 303 movies screened in Chinese theaters last year, they took in over half of overall ticket sales.
The new Chinese market has translated into an emphasis in contrasts of Hong Kong-made films, says film archivist Cheng.
The result would be a better organised industry, somewhat similar to what already exists for Chinese films.
It's harder for me to make Chinese films, because first of all, psychologically, it's more personal, the texture is more personal to me, it just hurts more.
In the four films he made - Fists of Fury (1972), Enter the Dragon, The Chinese Connection and Return of the Dragon (all 1973) - Lee became an overnight sensation.
Since then, he said, the playing field has leveled: The Wayans brothers played "White Chicks" in the film of the same name, and Eddie Murphy has played several ethnicities in his films, including Jewish and Chinese characters.
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