"In 1 to 60 Seconds Iimura does an extraordinary thing: he abstracts time from any concrete associations, seems to put it on the screen and there you sit looking at (or for) it, experiencing it. The film is all black leader except for the numbers 1 to 60 that appear individually in sequence to indicate t he amount of time in seconds that each of them followed one second letter by a number or numbers indicate the total amount of time that has thus far transpired. So at each juncture you know beforehand how much time awaits you be fore the next and how much is behind you, and then it's just you and the black screen. And thereafter many things happen: you attempt to experience, say, twenty one seconds so accurately you will be ready for the 22, or you become impatient and bored, or you just feel time, fell the ongoingness. The film's as varied as time (for you) is and can be." – Paul Poggiali, The Soho Weekly News, New York, May 9, 1974

Filmed turning the camera upside down, and without looking through the viewfinder, this experimental short features fragmented scenes of people, a girl, an amusement park, the beach, etc.

UKIYO UKARE present details from the shunga, pornographic wood-block prints of Harunobu, Utamaro, and others

A boy and a girl in a small room, having a fight, making love and suddenly . . . a black humor on a young couple.—Takahiko Iimura, Paper Film: Love and Flowers, 1970.

This is a film about a medium approaching extinction, an 8mm documentary film about a vanishing 8mm cinema. Blending two genres, the science film and the personal film, and benefiting from the participation of multiple generations of cineastes, it is a reflection upon the original cinematic experience.

From the collector of Marquis de Sade in the early 1960s, still a 'dark age ' of erotic picture, even his novels were forbidden to publish in Tokyo, I burrowed the copies of the engraving taken from the 18th century edition of "The story of Juliette" and of "The story of Justine." and rearranged along a story made from of the pictures not from the novels. An exercise out of the curiosity. It was the same year I made Ai (Love) in 1962 which consists of mostly extreme close-ups of love making. I have kept DeSade for many years in my closet without looking at it myself and have forgotten about it. By a chance I re-found the film 50 years later that there is something worth to see. (T.I, 2012)

"Of the new foreign work I saw, (at the Avantgarde Film Festival in London) that of Taka Iimura interested me most – His film + & -, using scratched signs, displayed how perception can be molded by the concept. By postulating negative duration – a length of black, say six seconds, minus a length of white, say three seconds, equals a length of black three seconds – the gradually emerging experience of 'backward running duration, through a long series of these visual sums, was very surprising." Malcolm Le Grice, Studio International, Nov. 1973

Short work.

Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.

"10 minutes of the act of creation itself run through close up and magnifying lenses. " -T.I.