"For me the 1960s was the great period of experiments.
I was not the only one engaged in filmic experimentation;
a whole generation of filmmakers were
more or less committed to the experiment...
The 1950's imagist films and 1970's structuralist films
have been well-studied and documented.
But the Neo-Dadaist films of the 60s have yet
to be discovered with surprise!"
Takahiko iimura,
"Golden age of avant-garde cinemaF1960s,"
60s Experiments, Re:Voir, Paris,1999
"From the early sixties, though Japanese,
Iimura was well known as one of the first generation
of the New York Underground - for many years,
Japanese experimental film was Takahiko Iimura."
Malcolm Le Grice,
Time Out, London,1975
"The object is seen as if for the first time,
thanks to the revealing nature of images."
Christophe Charles,
Les Arts de l'image dans le Japan contemporain :
Iimura Takahiko,Tokyo,1996,
in Takahiko Iimura
film et video, 1999.
"LOVE is a poetic and sensuous exploration of the body...
fluid, direct, beautiful"
Jonas Mekas,
Film Culture, New York,1966
@"This is one of the most beautiful and
most introspective films ever made...
Iimura has managed in this film
to show us also the ugly that we are not aware of,
while at the same time bringing to us an acceptance of it.
Sometimes he even transforms it to beauty."
- Peter Gidal,
Ark, Spring, 1970, London
"I first saw Iimura's film LOVE in 1962 in Tokyo.
I was very impressed by the poetic and sensuous,
yet experimental, direction of the film
and did the sound for it. "
- Yoko Ono, New York, 1996
"
it (A Dance Party In The Kingdom Of Lilliput)
remains his most accessible production :
witty, high-spirited and energetic,
it is often mysterious but always delightfully provocative.
Sam McElfresh, "Taka Iimura: Messaggero d'Oriente",
Giappone Avantguardia del Futuro,
Electa, Milano, 1985
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