nntsuzu/KFTT huggingface dataset:
English: However, although participating in these activities as well, Gado devised his own flowing writing style based on the so-gana characters of the Heian period, and this style became so popular that almost all of kana calligraphy-learning women participated in his association.
Japanese: しかしながら、鵞堂はこれに参画しながらも平安朝の草仮名を基底として独目の流麗なスタイルを案出し、婦人たちで習字をするものは、ほとんどこの組織で習うという盛況を呈した。
English: Starting with that, Shunkai BUNDO, a follower of Shundo NISHIKAWA, established "Nihon Shodo Sakushin-Kai" (an association for promoting calligraphy in Japan) newly towards the end of Taisho period, many calligraphic bodies were established one after another, holding calligraphic exhibitions.
Japanese: 西川春洞門の豊道春海による大正時代末期の「日本書道作振会」の創立を皮切りに、大規模な書道団体の結成が相次ぎ、その団体による書道展が開催された。
English: The Appearance of Modern Calligraphy by Tenrai HIDAI, a follower of Meikaku KUSAKABE, was featured in this period.
Japanese: また日下部鳴鶴門の比田井天来による現代書の出現もこの時代の特色である。
English: As a variety of publications about calligraphy were made available in large quantities, calligraphy became increasingly more popular and developed considerably as well during this period.
Japanese: そして書道に関する各種の刊行物が多量に発行されたこともあって、書道の普及、発達が著しい時代であった。
English: In January of 1922, Meikaku KUSAKABE died, and Gado ONO died in December of the same year.
Japanese: 大正11年（1922年）正月に日下部鳴鶴が亡くなり、同年12月に小野鵞堂が逝った。
English: In August of 1924, in two years after it, Shunkai BUNDO, who was a high-caliber disciple of Shundo NISHIKAWA (who died in 1915), achieved an accomplishment of establishing "the Nihon Shodo Sakushin-kai association," organizing almost all of the calligraphers at that time.
Japanese: その2年後の大正13年（1924年）8月、西川春洞（大正4年（1915年）没）の高弟である豊道春海が当時のほとんどの書家を結集して「日本書道作振会」を創立させるという偉業を成し遂げた。
English: Its first exhibition was held in November of 1925 at the Reppinkan hall of the Ryuchi kai.
Japanese: その第1回展は翌14年（1925年）11月、龍池会列品館で開催された。
English: In 1926, the second exhibition was held at the Tokyo Prefectural Museum (present Tokyo Metropolitan Museum).
Japanese: 大正15年（1926年）の第2回展は新築の東京府美術館（現在の東京都美術館）で開催された。
English: Then in the year following the year when the third exhibition was held, a declaration establishing a new calligraphic association was issued by eight calligraphers.
Japanese: そして第3回展が開催された翌年、8人の書家による新書道会創立という宣言書が発せられた。
English: The declaration of newly establishing a calligraphic association by the eight persons of Ryuseki HASEGAWA, Shotei KAWATANI, Hochiku YOSHIDA, Chikudo TAKATSUKA, Shukaku TASHIRO, Hosui MATSUMOTO, Izan SABURI, and Suiken SUZUKI in January of 1928 included the following description:
Japanese: 長谷川流石・川谷尚亭・吉田苞竹・高塚竹堂・田代秋鶴・松本芳翠・佐分移山・鈴木翠軒の8人を発起人とする昭和3年（1928年）1月の書道会創立宣言書には、下記のように記されてしる。
English: For some time, we have considered how to make the calligraphic world prosper, and now a suitable opportunity has arrived.
Japanese: 書道ノ作興ニ対シ、小生等予テヨリ稽フル処アリシガ今回愈々其ノ機熟シタ。
English: Therefore, we will establish a new calligraphic association to make calligraphy develop soundly, to make new calligraphers grow into experts based upon their own abilities and to help our followers.
Japanese: 茲ニ新タナル書道会ヲ創立シ書道ノ健全ナル向上発展ヲ図ルト同時ニ実力本位ニヨリ新進ノ大成ヲ期シ兼テ後進ヲ誘掖センコトヨ欲ス。
English: Centered on these eight persons, the Boshin Shodo-Kai association was established in July of 1928, separated from the Nihon Shodo Sakushin-Kai association, dividing the calligraphic world in two.
Japanese: この8人が中心となって昭和3年（1928年）7月に結成したのが「戊辰書道会」であり、日本書道作振会からの分離独立によって書道界は二分された。
English: In May of 1930, only two years after the Boshin (戊辰) Shodo-Kai association was established, a new body of "Taito Shodo-in" was established by integrating the Nihon Shodo Sakushin-kai association and the Boshin (戊申) Shodo-Kai association.
Japanese: 「戊辰書道会」結成から僅か2年後の昭和5年（1930年）6月、日本書道作振会と戊申書道会が統合して新団体「泰東書道院」が結成された。
English: Its first exhibition was spectacularly held early in November of 1930 at the Tokyo Prefectural Museum.
Japanese: 第1回展は早くも昭和5年（1930年）11月、東京府美術館で華々しく開催された。
English: Seven persons; Hochiku YOSHIDA, Hosui MATSUMOTO, Chikudo TAKATSUKA, Izan SABURI, Ryuseki HASEGAWA, Shiyu TSUJIMOTO, and Haiseki KUROKI planned to establish a new calligraphic association by dividing the "Taito Shodo-in."
Japanese: 吉田苞竹・松本芳翠・高塚竹堂・佐分移山・長谷川流石・辻本史邑・黒木拝石の7人が「泰東書道院」を分断して新しい書道会の創立を計画した。
English: Then later, Kizan KAWAMURA, Koseki HATTORI, Taiun YANAGIDA, and Tairei SHINOHARA participated in the movement, establishing the Toho Shodo-kai association in April of 1932.
Japanese: のちに川村驥山・服部畊石・柳田泰雲・篠原泰嶺が加わり、昭和7年（1932年）4月、「東方書道会」を結成した。
English: Advocated by Hoshu WAKAUMI, this association was established in May of 1934, and its first exhibition was held in the same month.
Japanese: 若海方舟が提唱者で昭和9年（1934年）5月に誕生し、第1回展が同月、開催された。
English: "Dainihon Shodo-in" was established in April of 1937 by Tenrai HIDAI, together with some persons in the Meikaku school and immediate disciples of Tenrai.
Japanese: 昭和12年（1937年）4月、比田井天来が鳴鶴門の一部の人々と天来直門の人々で組織したのが「大日本書道院」である。
English: Its first exhibition was held for eight days from July 24, 1937 at the Tokyo Prefectural Museum, and aroused interest because Tenrai HIDAI personally screened each of 2950 calligraphic works presented for the exhibition.
Japanese: 昭和12年（1937年）7月24日から8日間、東京府美術館で第1回展を開催し、2950点の出品作品を天来が単独審査し話題を呼んだ。
English: On January 4, 1939, in the year following when its second exhibition was held, Tenrai died suddenly, but the association remained, inheriting his great achievements.
Japanese: 第2回展を終えた翌年、昭和14年（1939年）1月4日、天来が急逝したが会は遺業を受け継いで存続した。
English: However, on December 29, 1941 the association was dissolved issuing an announcement, being absorbed into "Koa Shodo Renmei."
Japanese: しかし、昭和16年（1941年）12月29日、声明書を発して解散し、「興亜書道連盟」に吸収された。
English: Katsu KAWASAKI (a politician) established Koa Shodo Renmei in April of 1939 for achieving rapprochement between Manchuria and the Republic of China.
Japanese: 川崎克（政治家）が満州と中華民国との親善を目的に昭和14年（1939年）4月、「興亜書道連盟」を結成した。
English: Its first exhibition was held publicly at the five sites of the Huairentang hall in the Zhong Nan Hai park of Beijing, Mitsukoshi in Dalian City, the Japanese school in the center of Shanghai, Chaotiangong in Nanjing, and Osaka Municipal Museum of Art.
Japanese: 第1回展は北京中南海公園懐仁堂・大連三越・上海中部日本学校・南京朝天宮・大阪市立美術館の5会場で公開された。
English: In December of 1940, Toa Shodo Shinbunsha (a news paper company concerned with calligraphy) held a round-table discussion to gather many calligraphers and to exchange opinions about uniting persons in the calligraphic society for a common purpose, consequently leading to the establishment of the "Shodan Kakushin Kyogikai."
Japanese: 昭和15年（1940年）12月、東亜書道新聞社が座談会を催し、書家の参集を求めて書道界の大同団結について意見を交換し、昭和16年（1941年）1月、「書壇革新協議会」の結成に至った。
English: However, because various difficult problems existed and initial purposes were achieved, the announcement about dissolving the body was issued.
Japanese: しかし種々の難問があったことや所期の目的を達成したことからすぐに解散の声明を発した。
English: Taisei-Yokusankai (a political body formed in the war-time situation) tried to form new bodies to meet national policies, and established "the Daitoa Shodo-kai association" in January of 1943.
Japanese: 大政翼賛会が乗り出して国策に添う新団体結成を図り、昭和18年（1943年）1月、「大東亜書道会」が結成された。
English: In such a situation, "the Toho Shodo-kai association" was dissolved, "Taito Shodo-in" and "the Sanraku Shodo-kai association" became totally inactive, and "Koa Shodo Renmei" issued an announcement about continuing activities, but could not act freely.
Japanese: 「東方書道会」は解散、「泰東書道院」・「三楽書道会」は休眠状態に入り、「興亜書道連盟」は健在である声明書を発したものの自由が利かなくなった。
English: "The Daitoa Shodo-kai association" was a special institution with the war as the background, not being a body for calligraphy.
Japanese: 「大東亜書道会」は戦争を背景にした特殊機関であり、もはや書道のための団体ではなかった。
English: Amongst the followers of Meikaku KUSAKABE, it was Tenrai HIDAI who acted in the grandest way.
Japanese: 日下部鳴鶴を継ぐ主な人々の中で、最も壮大な展開をしたのは比田井天来である。
English: At the age of thirty, Tenrai passed the teacher qualification test at the Ministry of Education (the category of shuji (calligraphy), starting his activities as a calligrapher.
Japanese: 天来は30歳のとき、文部省教員検定試験（習字科）に合格し書家としての活躍が始まった。
English: Meikaku innovated the Chinese calligraphic styles based on the six-dynasty style, and in addition, tried to provide calligraphy with a basis suitable for the period through systematic studies of inscriptions and copybooks.
Japanese: 鳴鶴は唐様を六朝書によって革新し、さらに碑版法帖の体系的研究により、書にもその時代に相応しい根拠を持たせようとした。
English: For this, in addition to systematizing inscriptions and copybooks at a higher level, Tenrai newly introduced and advanced inner senses of beauty, such as the aspects of individuality and artistry
Japanese: これに対して天来は碑版法帖をより一層体系づけるとともに個性・芸術性という内面的な美意識を開拓していった。
English: This development from Meikaku to Tenrai was inherited by Tenrai's followers, appearing as "modern calligraphy" during this period.
Japanese: この鳴鶴から天来への展開は、天来の門弟たちに引き継がれ、この時代に「現代書」として現れる。
English: In 1933, "Shodo Geijutsu-sha" (an organization for calligraphic art) was established centered on Sokyu UEDA who learnt under Tenrai, and "Shodo Geijutsu (Shodo Zasshi) " (Calligraphic art (a journal of calligraphy), its bulletin, was published.
Japanese: 昭和8年（1933年）天来の教えを受けた上田桑鳩を中心とした若い世代が「書道芸術社」を結成し、機関誌『書道芸術(書道雑誌)』を発刊した。
English: It is meaningful to modernize the old styles based on their foundations, or to endeavor to generate new styles."
Japanese: 此の基礎に立って古いものを現代化し、或は進んで新しく生み出すことに意義がある」。
English: Furthermore, in the same inaugural issue, Kanzan SAMEJIMA wrote as follows in "Shosaku-riho oboegaki" (A note about natural ways of writing calligraphy":
Japanese: また鮫島看山は同じく創刊号の「作書理法覚書」の中で、次のようにと述べている。
English: "Calligraphy is a line-based art in which the author's subjectivity is expressed in the forms of characters."
Japanese: 「書は文字と云ふ素材を借りて作者の主観を表現するところの線芸術である」。
English: "If the social situation changes, if each author's sensitivity is different and if new writing tools are invented, it is natural that a new calligraphic style will be generated.
Japanese: 「社会状勢が変り、作者の主観が異り、用具が新に発明さるるならば、更に新しい様式が生れる可きは当然である。
English: Therefore, it is unnecessary to firmly stick to traditional ten-sho, rei-sho, kai-sho, gyo-sho or so-sho cerographic styles."
Japanese: だから何時迄も従来の篆隷楷行草に固執する必要はないと云ふことになる」。
English: In this way, the inaugural issue of "Shodo Geijutsu" made clear that the direction of "modern calligraphy" was going to progress.
Japanese: このように『書道芸術』創刊号は「現代書」の進むべき方向性を明らかにするものであった。
English: Concerning calligraphy of modern poems, Otei KANEKO (Otei) wrote in 1933 a "shin-chowa-tai" (new harmonious style) theory on "Sho no Kenkyu" (Study of calligraphy), and made public the calligraphy of "Akikaze-no-uta" (song of autumn wind) by Toson SHIMAZAKI, and "Keyaki" (zelkova trees) and "Kayani" by Hakushu KITAHARA.
Japanese: 近代詩文書については、昭和8年（1933年）金子鴎亭（鷗亭）が『書之研究』に「新調和体」論を展開し、島崎藤村の「秋風の歌」や北原白秋の「けやき」・「かやに」を発表した。
English: In November, 1937, an issue of "Shodo Geijutsu," studies of mixed writing of Chinese characters and kana characters was dealt with exclusively, where Yukei TESHIMA reported calligraphic styles of English in addition to mixed writing of Chinese characters and kana characters.
Japanese: また、『書道芸術』は昭和12年（1937年）11月号で、仮名交じり文の研究を特集し、手島右卿は仮名交じり文とともに、それの英語表現を報告している。
English: In April of 1951, brush-using calligraphy was restored as a formal learning item in the fourth and higher grades of elementary schools.
Japanese: 昭和26年（1951年）4月より、小学校4年生以上に毛筆習字の正科が復活
English: However, in the Mainichi shodo-ten (a calligraphic exhibition named Mainichi (literally, everyday), the name of "bokusho-geijutsu" (literally, ink-based art) held in 1954 was given to such calligraphy, and in the art-reviewing society, it is also called "chusho-shodo" (abstract calligraphy).
Japanese: しかしながら、昭和29年（1954年）の毎日書道展で、「墨象芸術」の名が与えられ、美術評論界などでは「抽象書道」などとも呼ばれた。
English: Sokyu UEDA and Gakyu OSAWA both of whom were concerned with movements for modern calligraphy in "Shodo Geijutsu-sha" established the "sho-no-bi" (calligraphic beauty) group and the "Heigen-sha" (literally, plain association) within Japan Calligraphy Art Academy, respectively, competing with each other.
Japanese: 「書道芸術社」で現代書の運動に関与した上田桑鳩と大澤雅休は、それぞれ書道芸術院内で、「書の美」と「平原社」のグループを結成し相拮抗していた。
English: The bodies for avant-garde calligraphy in recent years include, in addition to Japan Calligraphy Art Academy, "Keiseikai," "Sojinsha," "Sorosha," and "Gendaisho-sakka-kyokai" (an association of writers of modern calligraphy), with Nankoku HIDAI and others who did not belong to any of these bodies existing as well.
Japanese: 近年の前衛書道の団体としては、この書道芸術院の他に、「奎星会」・「草人社」・「蒼狼社」・「現代書作家協会」があり、その他無所属に比田井南谷らがいた。
English: It can be said that the persons who contributed to the development of modern calligraphy in education were the authors of school textbooks of calligraphy.
Japanese: 近代書道教育の発展に貢献したのは小中学校の習字教科書の筆者ともいえる。
English: The calligraphic style started with that of Ryoko MAKI in early Meiji period, and was followed by the Yan style until the era from the latter half of the Meiji period to the early Showa period.
Japanese: その書風は明治初期の巻菱湖から始まり、明治後期から顔法が昭和初期まで続いた。
English: However, starting around in this era, the calligraphers constituting the authors earnestly studied classic styles, and the effects began to gradually appear.
Japanese: しかしながら、このころから筆者である書家たちの古典研究が盛んになり、次第にその影響が現われてくるようになった。
English: In particular, Kaikaku NIWA who devoted himself to the calligraphic style of the Jin and Tang dynasties), riding himself of the six-dynasty style, became an examiner of teacher qualification tests at the Ministry of Education (for the category of calligraphy), and advocated placing the standards for calligraphic education on the styles of the three great calligraphers in the early Tang period.
Japanese: 中でも六朝書風から脱皮して晋唐書風に傾倒した丹羽海鶴が文部省教員検定試験委員（習字科）になり、学校の書道教育の基準を初唐の三大家におくことを提唱した。
English: As a result, Suiken SUZUKI, a disciple of Kaikaku, became an author of national school textbooks for calligraphy, making the standards even more solid.
Japanese: その結果、海鶴の門下である鈴木翠軒が国定の習字教科書の執筆をするに至り、この基準は確固たるものとなった。
English: Teacher qualification tests at the Ministry of Education (abbreviated as bunken) were qualification tests to give the teacher status for middle schools or schools for teacher training, and were conducted for sixty-three years between 1885 and 1948.
Japanese: 文部省教員検定試験（文検）とは、中学校・師範学校の教員の資格を与える検定試験であり、明治18年（1885年）から昭和23年（1948年）までの63年間に亘り施行された。
English: Entering the Meiji period, the education system for elementary schools, middle schools, schools for teacher training, and universities was established.
Japanese: 明治時代になり、学校制度は小学校・中学校・師範学校・大学等が設けられた。
English: Therefore, to improve the situation, "regulations to qualify teachers for middle schools and those for schools for teacher training," was enforced in August 13, 1884.
Japanese: これを補うために、明治17年（1884年）8月13日、「中学校師範学校教員免許規程」が定められた。
English: It was stipulated in Article three of the regulation that "Scholastic abilities must be checked with tests," and the first qualification test of scholastic abilities was conducted in March of 1885.
Japanese: その第3条に「学力ノ検定ハ試験ニ依ルモノトス」とあり、明治18年（1885年）3月、第1回学力検定試験が施行された。
English: To take a teaching position for the category of learning writing with brushes at a middle school or a school for teacher training, it was required to pass the test for the category of learning writing with brushes, at bunken.
Japanese: 中学校・師範学校の習字科教員として教職に就くためには、この文検習字科に合格する必要があった。
English: However, only five percent of the candidates could pass the test, far too insufficient to fill the positions necessitated.
Japanese: しかしながら、検定試験の合格率は5%と大変厳しく、有資格者の欠を充たすには程遠かった。
English: Therefore, qualified teachers were unavailable at a significant number of schools, and the calligraphic skills of students was markedly dependent on the school.
Japanese: したがって有資格者がいない学校も相当数あったことから習字成績の学校差は歴然たるものであった。
English: From around 1935, "the category of learning writing with brushes, at bunken" was changed to "the category of calligraphy, at bunken."
Japanese: 昭和10年（1935年）前後から「文検習字科」は「文検書道科」に改名された。
English: Corresponding to public demands, this change of name was made by the Ministry of Education, to add to pragmatism the element of pursuing beauty as art and design.
Japanese: これは実用主義に造形芸術としての美の追求が加味された結果であり、世論の要求に文部当局が応じたものであった。
English: Therefore, candidates for the test had to make adequate preparations depending on demands in the era.
Japanese: よって受験者もそれぞれの時代の要求に応じて周到な準備をする必要があった。
English: Being a main advocate of six-dynasty calligraphy and provided with the largest number of followers, he was a person who enlightened the calligraphic world in Japan during the Meiji period.
Japanese: 六朝書道の主唱者であり、最も多くの門人を擁した明治書道界の啓蒙者である。
English: Shundo NISHIKAWA competed with him, and almost all basics of today's Chinese character calligraphy were created centered on these two persons.
Japanese: 西川春洞がこれに拮抗し、今日の漢字書道界の基礎はほとんどこの2人を中心に造られた。
English: In addition, Tenrai HIDAI, a follower of Meikaku KUSAKABE, further progressed the study of classic calligraphy, and made an effort to modernize calligraphy and to make calligraphy independent of other art.
Japanese: また、日下部鳴鶴門下の比田井天来は鳴鶴の古典研究をさらに発展させて、書の近代化と芸術的独立のために努力した。
English: Saishu ONOE, who learnt under Shugyo OGUCHI, took the position of evaluating kohitsu most highly, affecting many of his followers significantly.
Japanese: また、大口周魚に学んだ尾上柴舟は古筆第一主義をとり、多くの門人に影響を与えた。
English: April: "Tokyo Memorial Peace Exhibition" was held (the gold medal was awarded to Hosui MATSUMOTO, the silver medal to Hyakuren ONO and the copper medal to Izan SABURI).
Japanese: 4月、「東京平和博覧会」開催（松本芳翠が金牌、大野百錬が銀牌、佐分移山が銅牌）。
English: August: "Nihon Shodo Sakushin-kai" (literally, an association of promoting calligraphy in Japan) was established (by Shunkai BUNDO and others: Refer to the item of "Alignment and realignment of calligraphic bodies (before the war)").
Japanese: 8月、「日本書道作振会」結成（豊道春海等、参考：書道団体の離合集散（戦前））。
English: June: "Taito Shodo-in" (the Taito calligraphic association) was established (by Shunkai BUNDO and others: Refer to the item of "Alignment and realignment of calligraphic bodies - before the war").
Japanese: 6月、「泰東書道院」結成（豊道春海等、参考：書道団体の離合集散（戦前））。
English: October: "Shodo Geijutsu-sha" (an organization for calligraphic art) was established, and "Shodo Geijutsu" (calligraphic art) was published (by Sokyu UEDA and Suiho KUWAHARA).
Japanese: 10月、「書道芸術社」結成と『書道芸術』刊行（上田桑鳩・桑原翠邦等）。
English: May: The Sanraku Shodo-kai association was established (by Hoshu WAKAUMI and others: refer to the item of "Alignment and realignment of calligraphic bodies - before the war").
Japanese: 5月、「三楽書道会」結成（若海方舟等、参考：書道団体の離合集散（戦前））。
English: April: "Dainihon Shodo-in" (the Dainihon - literally, great Japan - calligraphic association) was established (by Tenrai HIDAI: refer to "Alignment and realignment of calligraphic bodies - before the war").
Japanese: 4月、「大日本書道院」結成（比田井天来等、参考：書道団体の離合集散（戦前））。
English: February: "Koa Shodo Renmei" was established (by Katsu KAWASAKI: refer "Alignment and realignment of calligraphic bodies - before the war").
Japanese: 2月、「興亜書道連盟」結成（川崎克等、参考：書道団体の離合集散（戦前））。
English: Takarazuka Kinema Kogyo (established in November of 1932, liquidated in February of 1934) was a film company that existed in Kyoto.
Japanese: 寶塚キネマ興行株式會社（たからづか-、1932年11月設立-1934年2月解散）は、かつて京都に存在した映画会社である。
English: It was established by Masatsugu TAKAMURA and Kisaburo MINAMI relying on the 'Omuro Studio' of Shoei Makino Kinema, the distribution network of Toa Kinema and funds from Hankyu Railway's Ichizo KOBAYASHI.
Japanese: 高村正次と南喜三郎が設立、正映マキノキネマの「御室撮影所」と、東亜キネマの配給興行網と、阪急電鉄の小林一三の資本を仰いで設立された。
English: In November of 1932, Masatsugu TAKAMURA took over Toa Kinema after it had given up film production and established 'Takarazuka Kinema Kogyo' in partnership with Kisaburo MINAMI who had resigned as the president of Tokatsu Eiga-sha.
Japanese: 1932年（昭和7年）11月、高村正次が映画製作を断念した東亜キネマを買収、東活映画社の社長を辞任した南喜三郎とともに設立したのが、この「宝塚キネマ興行」である。
English: They employed former employees of Toa Kinema, its production company Tokatsu Eiga-sha and Shoei Makino Kinema.
Japanese: 東亜キネマ、同社の製作を代行した東活映画社、そして正映マキノキネマの残党の受け皿となった。
English: The first film the studio produced was "Katakiuchi Aiyokuko", directed by Daisho HORIE of Toa/Tokatsu line, and it was released on December 15 of the same year.
Japanese: 設立第1作は東亜・東活系の堀江大生監督の『敵討愛慾行』で、同年12月15日に公開された。
English: In July of 1933, there was a confrontation between management and employees due to unpaid wages.
Japanese: 1933年（昭和8年）7月、賃金未払いが起きて、経営者と従業員が対立する。
English: On January 14, 1934, the studio released the film directed by Tameyoshi KUBO called "Kiri no Chikado" at 'Osaka Park Kinema', as well as the film directed by Taizan GOTO called "Otone no Asagiri" and the first film directed by Takayama called "Katakana Jingi" at 'Osaka Shikishima Club.'
Japanese: 1934年（昭和9年）1月14日、久保為義監督の『霧の地下道』を「大阪パークキネマ」で、後藤岱山監督の『大利根の朝霧』と、そしてついに監督となった高村の初監督作『片仮名仁義』の二本立てを「大阪敷島倶楽部」で公開した。
English: Omuro Studio' was put back into operation in September by Etona Eiga-sha, established by Isuke TANAKA, and the studio was renamed 'Etona Eiga Kyoto Studio.'
Japanese: 「御室撮影所」は同年9月から、田中伊助が設立したエトナ映画社が稼動、「エトナ映画京都撮影所」と改称した。
English: Katsumi Yotaro Productions (established in 1926, ceased operations in 1930) was a film company that existed in Kyoto.
Japanese: 勝見庸太郎プロダクション（かつみようたろう-、1926年設立-1930年活動停止）は、かつて京都に存在した映画会社である。
English: Actor Yotaro KATSUMI, who had been working as a film director at Shochiku Kamata Studio, established this company and produced films in which he played the role of director as well as the leading character.
Japanese: 松竹蒲田撮影所で監督となった俳優の勝見庸太郎が設立し、牧野省三のマキノ・プロダクションとの提携により、自らの主演・監督作を製作した。
English: In early 1926, star actor and film director Yotaro KATSUMI left Shochiku Kamata Studio after a quarrel, and after being persuaded by his younger brother Masayoshi KATSUMI, who had been working as a director at Makino Productions, he led members of the 'Katsumi Group' at Shochiku Kamata in establishing 'Katsumi Yotaro Productions' in Kyoto.
Japanese: 1926年（大正15年）の初め、松竹蒲田撮影所と喧嘩をして飛び出した主演俳優兼映画監督の勝見庸太郎は、京都でマキノ・プロダクションの監督となっていた弟の勝見正義に説得され、松竹蒲田の「勝見一派」を引き連れて設立したのが、この「勝見庸太郎プロダクション」であった。
English: Fortunately, Makino agreed to an exclusive contract with Katsumi, and Makino Productions distributed films produced by Katsumi Yotaro Productions.
Japanese: 首尾よく牧野は勝見を受け入れ、専属とし、製作した作品はマキノ・プロダクションが配給した。
English: Shozo MAKINO presided over the production of the film, Katsumi wrote the screenplay under the name of 'Mokusho KATSUMI', his younger brother Masayoshi gave support as an assistant director, Sadatsugu MATSUDA ran the camera and Katsumi himself acted together with Makino's actresses Etsuko TAMAKI and Utako TAMAKI.
Japanese: 同作は、マキノ省三が総指揮を執り、勝見が「勝見黙笑」名義で脚本を書き監督し、弟の正義が監督補として支え、松田定次がカメラを回し、勝見自身がマキノの女優玉木悦子こと環歌子と共演した作品であった。
English: The film was a huge production with fifteen reels and was released on the same day as Makino Omuro's film "Hanashi", directed by Teinosuke KINUGASA, on November 14, 1926.
Japanese: 尺が15巻もある大作で、同年11月14日、マキノ御室作品の衣笠貞之助監督作『話』と同日に別系統で封切られた。
English: In 1927, Katsumi Yotaro Productions hired an unknown young man named Naoyuki Hotta.
Japanese: 1927年（昭和2年）、21歳の無名の青年八田尚之を入社させている。
English: Katsumi recognized Hotta's talents, adapting one of his original stories into a film in March of 1928 and having him debut as a scriptwriter in November of the same year.
Japanese: 勝見は彼の才能を見抜き、翌1928年（昭和3年）3月、八田のオリジナルストーリーを採用して勝見が脚本を執筆して映画化、同年11月には、八田を脚本家としてデビューさせた。
English: When Makino began to produce "Chukon Giretsu Jitsuroku Chushingura" at Makino Production's Chubu Studio (headed by Masahiro MAKINO) in Nagoya, Katsumi collaborated with Makino as an actor by playing a role of 'Sakon TACHIBANA.'
Japanese: また、名古屋のマキノ・プロダクション中部撮影所（所長・マキノ雅弘）で牧野が撮影を開始した『忠魂義烈実録忠臣蔵』に、「立花左近」役で勝見は出演、同作では一介の俳優として、マキノ作品に協力した。
English: Katsumi's younger brother Masayoshi directed all of their films produced in 1927 as well as "Kochiyama to Naozamurai" produced in October of 1928.
Japanese: 1927年の全作品と、1928年10月の『河内山と直侍』までは弟の正義が監督した。
English: In September of 1929, fifty days after Shozo Makino's death on July 25, a new administration was announced with Makino's oldest son Masahiro Makino at the head.
Japanese: 1929年（昭和4年）7月25日、牧野省三が死去、没後50日を経た同年9月に牧野の長男・マキノ正博を中心とする新体制が発表された。
English: Later on, Hotta went on to write nineteen scripts, teaming up with assistant director Kichinosuke HITOMI as a main scriptwriter of Makino's contemporary dramas rather than working on Katsumi's films.
Japanese: しかしそれ以降、八田は勝見作品以上にマキノの現代劇の主力として、人見吉之助監督とのコンビを中心に19本を執筆した。
English: Operations were ceased after releasing "Merikan Jap" on July 1 and "Umibe no Romansu" on July 20.
Japanese: 7月1日に『メリケンジャプ』、7月20日に『海辺のローマンス』が公開されて、それ以降は活動を停止した。