nntsuzu/KFTT huggingface dataset:
English: SUGANO no Mamichi (741 - July 23, 814) was a Court noble in the early Heian Period.
Japanese: 菅野真道（すがののまみち、741年（天平13年）-814年7月23日（弘仁5年6月29日(旧暦)））は、平安時代初期の公卿。
English: He was deeply trusted by Emperor Kanmu, and he worked in important posts including Sadaiben (major controller of the left), Sahyoe no kami (Captain of the Left Division of Middle Palace Guards) and Saeji no kami (Captain of the Left Division of Imperial Guards), as well as Togu gakushi, and also got deeply involved with the project to transfer the capital to Heian-kyo as Zogu no suke (Assistant master of Ministry of making and mending palaces).
Japanese: 桓武天皇の信任が厚く、東宮学士の傍ら弁官・兵衛府・近衛兵令制の五衛府と要職を歴任、また造宮省として平安京への遷都事業にも深く関与した。
English: In 806, he had so-called 'Tokusei ronso (argument over virtuous government)' with FUJIWARA no Otsugu in front of Emperor Kanmu, and although he strongly opposed Otsugu's insistence to cease the military affairs and construction in order to reduce farmers' burdens, the Emperor adopted Otsugu's insistence and canceled the punitive expedition to Ezo and construction of Heian-kyo Palace
Japanese: 806年には桓武天皇の前で藤原緒嗣といわゆる「徳政論争」を行い、農民の負担軽減のために軍事・造作を停止すべきとの緒嗣の主張に強く反対するが、天皇は緒嗣の主張を採択し、計画中であった蝦夷征伐と平安宮造宮の中止、造宮職の廃止と木工寮への統合が決まった。
English: In 806, when Emperor Heizei ascended the throne, he was promoted to Shoshiinojo (Senior Fourth Rank, Upper Grade), and he was appointed as Sanin-do Road Kansatsushi (inspector) in the following year 807, when the Kansatsushi system was established, and then in 809 he was ranked Jusanmi (Junior Third Rank) as Tokai-do Road Kansatsushi.
Japanese: 806年平城天皇の即位に際して正四位上に昇叙、翌807年観察使制度の設立に伴い山陰道観察使、809年従三位・東海道観察使。
English: Mamichi edited "Shoku Nihongi" (Chronicle of Japan Continued) with FUJIWARA no Tsugutada and AKISHINO no Yasuhito, and completed all the 40 volumes in 797.
Japanese: 真道は藤原継縄・秋篠安人と『続日本紀』の編纂を行い797年に全40巻を完成させた。
English: And it is said that he was busy editing Kyakushiki (regulations and laws) with FUJIWARA no Uchimaro by the order of Emperor Kanmu, although it was incomplete.
Japanese: また、未完成に終わったが、桓武天皇の命により藤原内麻呂とともに格式の編纂を進めていたとされる。
English: Akinori MATSUO (born November 5, 1928) is a film director in Japan.
Japanese: 松尾昭典（まつおあきのり、1928年11月5日-）は、日本の映画監督。
English: In 1956 when his colleagues who had joined the previous studio at the same time as him, Koreyoshi KURAHARA and Tatsumi KUMASHIRO, moved to the Nikkatsu, Matsuo worked as an assistant director for 'Waga machi' (My hometown) written by Sakunosuke ODA.
Japanese: （同期の蔵原惟繕、神代辰巳も日活に移籍した）1956年、織田作之助原作の「わが町」の助監督を務めた。
English: He directed films such as 'Watashi chigatte irukashira' (Am I wrong?) featuring Sayuri YOSHINAGA, and 'Futari no sekai' (The World of Two) and 'Yogiri no bojo' (Longing in a night fog) featuring Yujiro ISHIHARA.
Japanese: 石原裕次郎主演の「二人の世界」「夜霧の慕情」、吉永小百合主演の「私、違っているかしら」などを監督した。
English: He has worked as a freelance director since the 1970's and has directed mystery dramas for TV such as Saturday Night at the Mysteries.
Japanese: 70年代からはフリーで、土曜ワイド劇場などテレビ・サスペンスの監督をしている。
English: The Onakatomi clan was a noble family that led religious services at the central government in ancient Japan.
Japanese: 大中臣氏（おおなかとみし）は日本古代の中央政権において祭祀をつかさどった貴族。
English: After FUJIWARA no Kamatari was granted the kabane (hereditary title) Fujiwara, his son FUJIWARA no Fuhito was still young and therefore Kamatari's nephew, who is also said to have been his son-in-law, NAKATOMI no Omimaro temporarily inherited the kabane Fujiwara.
Japanese: 藤原鎌足が藤原姓を賜った後、その子藤原不比等が幼かったため、鎌足の甥で婿養子とも言われる中臣意美麻呂が暫定的に藤原氏を継いだ。
English: Later, when Fuhito had grown up, an order by Emperor Monmu stated that the kabane of Fujiwara was permitted only to be inherited by the descendants of Kamatari's heir Fuhito while the kabane of others were to be reverted to Nakatomi, and Omimaro returned to using the Nakatomi kabane.
Japanese: 後に、不比等の成長を待ち、正式に文武天皇の命令によって改めて鎌足の嫡男として不比等とその子孫のみに藤原姓を許し、他の者は中臣氏に復するように命じられて意美麻呂も中臣姓に戻る。
English: From then on, the Nakatomi clan descendants of the Omimaro came to be called the Onakatomi clan.
Japanese: 以後は中臣氏でも意美麻呂の子孫の家系を特に大中臣氏と称するようになる。
English: Among the Onakatomi clan, the family line that wielded the most power was that descending from Omimaro's son ONAKATOMI no Kiyomaro (held the court rank of Minister of the Right) (702 - 788), and they inherited the positions of Jingikan (Department of Worship) and Ise Saishu (head priest of Ise-jingu Shrine).
Japanese: 大中臣氏の中で最も力を振るったのは意美麻呂の息子である大中臣清麻呂（位階・右大臣）（702年～788年）の系統で、神祇官や伊勢祭主を世襲した。
English: During the Heian period, ONAKATOMI no Yoshinobu, his son ONAKATOMI no Sukechika, and his granddaughter Ise no Taifu also achieved prominence as kajin (waka poets).
Japanese: 平安時代の大中臣能宣とその子大中臣輔親その孫伊勢大輔は歌人としても事績を残している。
English: When the Shirakawa family came to inherit the position of Jingikan in the mid-Heian period the descendants of ONAKATOMI no Kiyomaro came to inherit the positions of Jingikan and Ise Saishu.
Japanese: 平安時代中期以降白川家が神祇官を世襲するようになると、伊勢祭主及び神祇官を世襲するようになる。
English: Kajiro YAMAMOTO (March 15, 1902 - September 21, 1974) was a film director, actor, screenwriter and essayist in Japan.
Japanese: 山本嘉次郎（やまもとかじろう、1902年3月15日-1974年9月21日）は、日本の映画監督、俳優、脚本家、随筆家。
English: Initially, when writing scripts and debuting as an actor, Yamamoto often wrote movie scripts and appeared in films under the name of Nobuyuki HIRADO or Nobuyuki HIRATA.
Japanese: また、脚本を書く際や俳優としてデビューした当初は、平戸延介、平田延介名義で映画に出演したり、書く事も多かった。
English: After graduating from Keio University, Yamamoto debuted as an actor in "Manatsu no yo no yume" (A Midsummer Night's Dream) costarring with Yoshiko OKADA in 1920.
Japanese: 慶應義塾大学卒業後の1920年に『真夏の夜の夢』で岡田嘉子と共演して俳優デビューする。
English: As a result of this, however, he was disowned by his parents, but with the money he received from them, he founded Mumei Eiga Kyokai (production company) and featured himself.
Japanese: しかし、それが原因で親から勘当され、その手切金で「無名映画協会」を設立し、自ら出演した。
English: In the meantime, he wrote scripts and created a screenplay for "Haru to musume" (Spring and A Girl) in 1932, which is known as the first film to be dubbed with a full soundtrack.
Japanese: そのかたわら脚本も書き、田坂具隆監督の『春と娘』（1932年、初のアフレコによる全発声映画として有名）の脚本などをてがけた。
English: After the Great Kanto Earthquake, Yamamoto worked as director of "Atsubi no jujiro" at Hayakawa Production, which was founded in the Kansai region.
Japanese: 関東大震災後には関西で結成された「早川プロダクション」で『熱火の十字路』で監督をする。
English: Of the many Enoken films, 2 in particular, "Enoken no donguri Tonbe" (Enoken's acorn Tonbe) of 1936 and "Enoken no chakkiri Kinta" (Enoken's Chikiri Kinta) of 1937, are said to be the best films to feature Enoken's characteristic music jokes.
Japanese: 中でも『エノケンのどんぐり頓兵衛』(1936年）『エノケンのちゃっきり金太』（1937年）は、エノケンの持ち味の音楽ギャグを生かした、数あるエノケン映画の中でも屈指の傑作と言われている。
English: Yamamoto directed "Tsuzurikata kyoshitsu" (Composition Class) played by Hideko TAKAMINE in 1938, and produced "Uma" (Horse) with Akira KUROSAWA as his assistant director in 1941.
Japanese: 1938年、高峰秀子主演で『綴方教室』を監督、1941年には黒澤明を助監督に『馬(映画)』を制作した。
English: These 2 films were highly praised as fine works dealing with worlds that had not been filmed before.
Japanese: この2作品は従来扱われていなかった世界を扱った佳作として高い評価を受けた。
English: In 1942, during World War II, Yamamoto directed "Hawai Mare oki kaisen" (The War at Sea from Hawaii to Malay) at Toho Co., Ltd. (film studio) with Eiji TSUBURAYA as his special effects director.
Japanese: 第二次世界大戦中の1942年、円谷英二が特技監督を務めた『ハワイ・マレー沖海戦』を東宝で制作する。
English: Yamamoto later directed Hizuru TAKACHIHO's debut movie "Hopu-san" (Mr. Hope) in 1951 and the first color film at Toho "Hana no naka no musumetachi" (Girls Amongst the Flowers) 2 years later in 1953.
Japanese: その後、1951年に高千穂ひづるのデビュー作『ホープさん』、翌々年1953年には、東宝で初のカラー映画『花の中の娘たち』を作った。
English: Because he was curious about everything, knowledgeable and a gourmet, Yamamoto was nicknamed 'Nandemo Kajiro' (literally, chew anything, a pun on the verb to chew, which is pronounced like his name Kajiro).
Japanese: 非常に好奇心が強く、博学で、グルメでもあったため、姓名をもじって「ナンデモカジロウ」とあだ名された。
English: Kojiro Nobumitsu KANZE (1435 or 1450 - August 15, 1516) was a Sarugakushi (an actor of Sarugaku (early form of the Japanese classical drama Noh) and a Nohgakushi (an actor of Noh)), and a playwright of Sarugaku (Noh).
Japanese: 観世小次郎信光（かんぜこじろうのぶみつ、觀世小次郎信光、永享7年（1435年）または宝徳2年（1450年）-永正13年（1516年）7月7日）は日本の室町時代の猿楽師（能楽師）、猿楽（能）作者。
English: (It has traditionally been said that he was born in 1435, but according to recent researchers including Akira OMOTE, he was more likely to be born in 1451; therefore, both of the years are described here).
Japanese: （生年については従来1435年といわれていたが、近年表章などの研究により1451年説が有力になってきており、この項では両説を併記した）。
English: Whichever year was correct, leadership of the Kanze troupe (one of four sarugaku troupes in Yamato Province) had been transferred from Zeami and his son to the Onami family by the time Nobumitsu was born.
Japanese: いずれにせよ信光が生まれた頃には、観世座の主導権は世阿弥父子から音阿弥家へと移行していた。
English: He devoted his life to assisting tayu (head of a troupe) which was inherited by the direct descendants of the Onami family.
Japanese: 彼の生涯はその音阿弥直系の大夫たちを補佐することに捧げられることとなる。
English: According to 'KANZE Kojiro Nobumitsu ga zo-san' (inscription to the portrait of Kojiro Nobumitsu KANZE) and "Yoza yakusha mokuroku" (Catalog of Actors of the Four Troupes) written by KEIJO Shurin (abbot of Nanzen-ji Temple in Kyoto), when the 15-year-old Nobumitsu took part in a Sarugaku performed before Emperor Gohanazono, the Emperor gave Nobumitsu a fan to honor his performance through Yoshimasa ASHIKAGA who watched Sarugaku with the Emperor.
Japanese: 景徐周鱗の書いた「観世小次郎信光画像讃」や『四座役者目録』などよると、15歳の時後花園天皇の御前での猿楽に参加し,天皇の扇を同席した足利義政の手添えで授けられるという栄誉を受けたという。
English: Although he was from a branch family and a Hayashikata (musician), he actively involved in assisting Saburo Yukishige KANZE, then tayu of the KANZE troupe, since Yukishige was young.
Japanese: 傍流の囃方という身ではあったが、時の観世大夫観世三郎之重が幼少であったため、それを助ける形で活発な活動を見せた。
English: In "Yoza yakusha mokuroku" mentioned above, he was praised as 'the master of sarugaku' and excelled at everything.
Japanese: 前述の『四座役者目録』は「乱舞道の名人」、また諸道において暗きところなし、と評している。
English: It was also said that he may have been a master of Waki (supporting actor) since his decedents had produced particularly many Wakikata (supporting actor) (Some opinions, including this one, did not rely on the description of "Yoza yakusha mokuroku").
Japanese: ことに彼の子孫にワキ方の役者が多かったことから、ワキの名人だったともいう（『四座役者目録』の記述を信用しない説もある）。
English: Besides being active as a noh playwright to be described below, he devoted to put age-old Yokyoku (noh songs) to written text so that they could be handed down to later generations.
Japanese: 後述のように能作者として活動したほか、過去の謡曲の保存・継承にも心を砕いた。
English: Nobumitsu was active until ripe old age on the front lines assisting tayu, and awarded the title of 'Gonno kami' (a title given to those who excelled at a wide range of performances).
Japanese: 老境に至るまで大夫の補佐役として第一線で活躍し、「権守」の称号を受けた。
English: He was valued highly as a person who laid the groundwork for not only the Onami family but also the Kanze school to survive and thrive in turbulent times.
Japanese: 乱世を越えて音阿弥家、ひいては観世流が栄える礎を作った人物として高く評価される。
English: Since 'KANZE Kojiro Nobumitsu ga zo-san,' which was written in his later years, described the roots of the Kanze family as well as his own life in detail, this book has been considered source materials about the Kanze family up to the present.
Japanese: また晩年に書かれた「観世小次郎信光画像讃」ではその生涯とともに、観世家の出自が詳しく語られ、近代に至るまで観世家を語る上での基礎資料として認知されていた。
English: In contrast to the works of Zeami and Motomasa KANZE, in which 'yugen' (elegance, calm, profundity, mixed with the feeling of mutability) was sometimes too much expressed, many Nobumitsu's works were spectacular filled with sensational events which were called 'furyu' (full of refined tastes) in those days.
Japanese: 「幽玄」を時に過剰なまでに追求した世阿弥・観世元雅の作品とは対照的に、信光の作品は、ショー的要素、同時代でいう｢風流（ふりゅう）｣を多く取り入れた華やかな作品が多い。
English: Compared to the time of Zeami when noh schools received support from high-ranking samurai families and nobles, noh schools in the time of Nobumitsu received less support and were forced to perform more frequently in provinces where audiences preferred spectacle to yugen.
Japanese: 上流武家、公家のバックアップを受けていた世阿弥時代に比べて、そのような層の後援が減り、地方興行も多く、幽玄よりもスペクタクル性が求められたためといわれている。
English: Tadashi IMAI (January 8, 1912 - November 22, 1991) was a film director in Japan during the Showa period.
Japanese: 今井正（いまいただし、1912年1月8日-1991年11月22日）は、日本の昭和期の映画監督。
English: Having mainly created social films, he was a great filmmaker representing leftist humanism in Japanese cinema after World War II.
Japanese: 社会派映画を主に手掛け、戦後日本映画の左翼ヒューマニズムを代表する代表する名匠である。
English: He had devoted himself to Marxism and films since Shiba Junior High School and Mito High School under the old system.
Japanese: 芝中学校・高等学校、水戸高等学校(旧制)時代よりマルクス主義と映画に傾倒していた。
English: In 1935, he dropped out of the University of Tokyo and was hired at the Planning Department of J.O. Studio (present-day Toho Co., Ltd.).
Japanese: 1935年、東京大学を中退し、J・Oスタジオ（現・東宝）企画部に入社する。
English: When J.O. Studio and Toho Co., Ltd. merged in 1937, Imai was selected as director in his second year at the company, which was an unusually fast promotion.
Japanese: J・Oが東宝と合併した1937年、今井は入社2年目にして早くも監督昇進に指名され、異例のスピード出世となった。
English: The production of his first film, however, was greatly delayed partly due to the draft of some of the actors, and 2 years later, in 1939, it was finally released as Imai's debut film "Numazu Heigakko" (Numazu Military Academy).
Japanese: しかし、処女作は出演俳優が兵役に取られるなどして完成が大幅に遅れ、やっと公開されたのが2年後の1939年、『沼津兵学校映画』が監督デビュー作となった。
English: Although it was simple in style, the film was highly regarded thanks to Imai's solid directing.
Japanese: 本作は地味な作風ながらも、今井の手堅い演出の甲斐もあって秀作との評価を得る。
English: During World War II, however, Imai went against his nature and produced numerous propaganda films for the war.
Japanese: しかし、第二次世界大戦中は、自らの信念とは別に数々の戦意高揚映画を製作。
English: The propaganda film "Boro no kesshitai" (Suicide Troops of the Watchtower) that depicted the battle between Japanese armed police and anti-Japanese guerrillas set in Korea in 1943 included action scenes only seen in western films and spotlighted Imai for the first time; ironically, it was a militaristic film that justified colonialism.
Japanese: 1943年、朝鮮を舞台に日本の武装警官隊と抗日ゲリラとの戦いを描いたプロバガンダ映画『望楼の決死隊』が、西部劇さながらのアクション・シーンを取り入れ、はじめて今井の名が注目を集めたのは皮肉なことに植民地支配を正当化した軍国主義映画だった。
English: In 1946, he won the Best Director Award at the first Mainichi Film Awards for his first postwar movie "Minshu no teki" (An Enemy of the People) which portrayed the corruption of the zaibatsu (family-controlled conglomerates) during the war.
Japanese: 1946年、今井の戦後第1回作品で戦時中の財閥の腐敗を描いた『民衆の敵(1946年の映画)』で第1回毎日映画コンクールの監督賞を受賞。
English: In contrast, Imai also created films such as "Jinsei tonbo-gaeri" (Life Is like a Somersault), a humane comedy featuring Kenichi ENOMOTO and Takako IRIE.
Japanese: その一方で榎本健一と入江たか子主演の人情喜劇『人生とんぼ返り』のような作品も手掛けた。
English: In 1949, Imai directed the two-part youth film "Aoi Sanmyaku" (The Green Mountains) which, based on Yojiro ISHIZAKA's work, celebrated democracy.
Japanese: 1949年、石坂洋次郎原作で民主主義を謳歌した青春映画『青い山脈(映画)』前後篇を監督。
English: Due to the huge success of the theme song with the same title, the film became a big hit and was ranked number 2 in Kinema Junpo (a film magazine).
Japanese: 同名の主題歌も大ヒットしたことで映画も大ヒットを記録し、キネマ旬報ベストテンの第2位に選ばれた。
English: Then, in 1950, he depicted the tragedy of lovers separated by the war in "Mata au hi made" (Till We Meet Again), and this time, the film was ranked number 1.
Japanese: 続いて1950年、『また逢う日まで(1950年の映画)』で戦争によって引き裂かれた恋人の悲劇を描き、今度はベストテン第1位に輝いた。
English: Additionally, the scene in the film in which the leading actors Eiji OKADA and Yoshiko KUGA kissed through a glass window attracted wide attention at the time and became one of the most famous scenes in the history of Japanese cinema.
Japanese: また劇中、主演の岡田英次と久我美子のガラス窓越しのキスシーンが当時、大きな話題になり、日本映画史に輝く名場面となった。
English: With the funds earned form the success of "Aoi Sanmyaku," he left Toho to work as a freelance director and produced a series of films that celebrated the arrival of a democratic society.
Japanese: 『青い山脈』の成功で手に入れた資金をもとに、東宝から独立してフリーの監督として民主主義の社会の到来を高らかに謳いあげる作品を次々と発表した。
English: However, Imai, who had been a leading member of the Toho dispute, was barred from the 5 film studios (the so-called red purge), and worked for a short time as a scrap broker to earn a living.
Japanese: しかし、東宝争議で中心的人物として動いた今井を映画会社5社から締め出し（いわゆるレッド・パージ）、生計を立てる為に一時期、屑物の仕切り屋を開業していた。
English: Leftist filmmakers who were fired from the same reason as Imai actively started one independent production company after another.
Japanese: しかし、今井同様に解雇された左翼系映画人たちが次々と独立プロを立ち上げる運動が活発となった。
English: Teaming up with Gekidan Zenshinza (theater group), Imai, who started an independent production company called Shinsei Eigasha with Satsuo YAMAMOTO and Fumio KAMEI, released "Dokkoi ikiteiru" (And Yet We Live), depicting the lives of day laborers, in 1951.
Japanese: 山本薩夫、亀井文夫らと独立プロ・新星映画社を創立した今井は1951年、前進座と組んで、日雇い労働者たちの生活を描いた『どっこい生きている』を発表した。
English: In 1953, Imai was invited by a tiny, emerging studio at the time called Toei Company, Ltd. to create "Himeyuri no to" (The Tower of Lilies), a film portraying the tragedy of the Battle of Okinawa.
Japanese: 1953年、当時は新興まもない弱小スタジオだった東映に招かれて、沖縄戦の悲劇を描いた『ひめゆりの塔(1953年の映画)』を製作した。
English: Although Imai himself was not satisfied with the quality of it, the film became a big hit and helped Toei lay its foundation.
Japanese: 今井自身は出来に満足はしなかったものの、本作は大ヒットを記録して、東映の基礎固めに一躍買った。
English: Afterwards, he moved back to his independent production company and released the following two masterpieces: the omnibus film "Nigorie" (An Inlet of Muddy Water) which, based on Ichiyo HIGUCHI's work, was created with Bungakuza (theater group) and ranked number one in the top ten list; and the humanistic film "Koko ni izumi ari" (Here Is a Fountain) which portrayed the founding period of the Takasaki Citizens Orchestra (the present-day Gunma Symphony Orchestra).
Japanese: その後、再び独立プロに戻り、文学座と組んだ樋口一葉原作のオムニバス映画『にごりえ』（ベストテン第1位）、高崎市民オーケストラ（現・群馬交響楽団）の草創期を描いた『ここに泉あり』とヒューマニズム映画の傑作を発表する。
English: In 1956, Imai released the first Japanese film to criticize the court, "Mahiru no ankoku" (Darkness at Noon), an adaptation of the personal notes of Hiroshi MASAKI, a defense lawyer in the trial of the Yakai case.
Japanese: 1956年には、日本における裁判批判映画の最初の作品で、八海事件の裁判で弁護を担当した正木ひろしの手記の映画化『真昼の暗黒』を発表。
English: The film which, based on extensive research, claimed a wrongful conviction case had a huge impact on the society, and it was praised as one of his greatest films during the movement of independent production companies.
Japanese: 徹底とした調査のもと、冤罪事件を告発した本作は、大きな社会的反響を呼び、独立プロ運動時代の最高傑作のひとつと賞賛される。
English: Also in Toei, Imai created a series of social films: in 1957, the two movies, "Kome" (The Rice People), his first color film depicting poverty in a farming village set in Kasumigaura, and "Junai monogatari" (The Story of Pure Love), a story of love between a girl suffering from radiation sickness and a delinquent boy, became popular; in 1961, "Arega minato no hi da" (That Is the Port Light), a film depicting through young Korean fishermen in Japan the deteriorated relationship between Japan and Korea caused by the dispute of the Syngman Rhee Line, became a hit.
Japanese: 東映においても社会派映画を次々と製作、1957年、霞ヶ浦を舞台に農村の貧困を描いた、今井の初のカラー作品『米(映画)』や、原爆症の少女と不良少年の恋を描く『純愛物語』、1961年、李承晩ラインをめぐる日韓関係の悪化を、在日朝鮮人の若い漁師を通して描く『あれが港の灯だ』など話題を呼んだ。
English: In "Kiku to Isamu" (Kiku and Isamu), a film including condemnation of racism as a theme, he portrayed the close interaction between the half Black and half Japanese sister and brother and the old woman who took in and raised them.
Japanese: 1959年、人種差別批判をテーマにした『キクとイサム』は、黒人との混血の姉弟と、彼らを引き取って育てる老婆の交流を描いた。
English: Although he was a member of the Japanese Communist Party, Imai did not press its ideology; instead, he delved into social issues such as war, discrimination and poverty, and beautifully filmed the weak at the mercy of these conditions with compassion.
Japanese: 今井は共産党員ながらもイデオロギーを尖鋭に推したてることはせず、戦争や差別や貧困など社会的テーマを掘り下げ、それに翻弄される弱者の姿を同情を込めて美しく描いた。
English: In 1963, Imai won the Grand Prize at the Berlin International Film Festival with a movie depicting the cruelty of feudal society "Bushido zankoku monogatari" (Cruel Tales of Bushido).
Japanese: 1963年、封建社会の残酷さを描く『武士道残酷物語』で、ベルリン映画祭グランプリを受賞。
English: It took 39 years after his win for a Japanese movie called "Sen to Chihiro no kamikakushi" (Spirited Away) directed by Hayao MIYAZAKI to win the Grand Prize at the same festival.
Japanese: 同映画祭でグランプリを受賞するのは、39年後、宮崎駿監督の『千と千尋の神隠し』まで待たなくてはならなかった。
English: The company, however, was dissolved in 1971 due to financial problems after the completion of "En toiu onna" (A Woman Named En).
Japanese: しかし、1971年、『婉という女』を完成後、資金難からほるぷ映画は解散した。
English: Imai was invited to Toho, where he had been employed in the past, and released the anti-war film "Kaigun Tokubetsu Shonenhei" (Special Naval Youth Soldiers) in 1972.
Japanese: 1972年、古巣の東宝に招かれて反戦映画『海軍特別少年兵』を発表する。
English: A filmmaker influenced by neorealism in Italian cinema, he was known for strict acting direction and firm commitment to picture quality.
Japanese: イタリア映画におけるネオレアリズモの影響を受けた映画監督の一人でもあり、厳しい演技指導や映像へのこだわりでも知られた。
English: For instance, Kenji USHIO, a regular supporting actor in Imai's films, introduces in his memoir a story about the filming of the final scene in "Kome" which took one week to finish because Imai was so concerned about the shape of the sail and position of a ship and even the cloud position.
Japanese: 例えば常連パイプレーヤーであった潮健児は自伝で、『米』のラストシーンの収録に、船の帆の貼り具合や船の位置、果ては雲の位置までを気にするあまり1週間かかったなどのエピソードを紹介している。
English: Although he was a left-wing filmmaker, Imai created a series of hit films loaded with entertainment features and led Japanese cinema as one of the greatest filmmakers across party lines.
Japanese: 左翼作家でありながら娯楽色豊かなヒット作を連打し、党派を超えた巨匠として日本映画に君臨した。
English: In this respect, Imai was ranked with Satsuo YAMAMOTO, who similarly directed fine propaganda films for the war.
Japanese: この点で山本薩夫と双璧だ（戦中に戦意高揚映画の秀作を撮っているところまで相似している）。
English: In his late years, however, he lived a slightly unhappy life, compared with Yamamoto who had been constantly asked by big film studios to direct until his death.
Japanese: しかし、最後まで大手からの監督依頼が絶えなかった山本に比べると若干晩年は不遇であった。
English: Imai is also known for having been denounced by Buraku Liberation League for the second part of the film "Hashi no nai kawa" (River Without a Bridge).
Japanese: 『橋のない川』第二部を巡って部落解放同盟から糾弾を受けたことも知られている。
English: In 1991, he was awarded the fourth Nikkan Sports Film Award and Yujiro Ishihara Award with "Senso to seishun" (War and youth).
Japanese: 第4回日刊スポーツ映画大賞・石原裕次郎賞特別賞（1991年）『戦争と青春』
English: Kazuo IKEHIRO (October 25, 1929 -) is a Japanese movie director.
Japanese: 池広　一夫（いけひろかずお、1929年10月25日-）は、日本の映画監督。
English: His father Toshio IKEHIRO who was an executive at the Daiei Motion Picture Company and held successive positions such as production department head, Osaka branch head and Tokyo studio head.
Japanese: 父は大映の重役で制作部長・大阪支社長・東京撮影所所長などを歴任した池広利夫。
English: After graduating from Tokyo Municipal Chitose High School, his upbringing close to film studios from a young age was partially responsible for him joining the 'Film Research group' while studying at the Rikkyo University Faculty of Economics.
Japanese: 東京都立千歳高等学校を経て、幼少時から撮影所の近くで育ったこともあり、立教大学経済学部在学中から「映画研究会」に属する。
English: After graduating, he joined Daiei Kyoto Studios in 1950 as an assistant director and worked under Kozaburo YOSHIMURA, Kenji MIZOGUCHI, Kon ICHIKAWA, Kaneto SHINDO and Torajiro SAITO.
Japanese: 卒業後、1950年、大映京都撮影所に助監督として入社し、吉村公三郎、溝口健二、市川崑、新藤兼人、斎藤寅次郎らにつく。
English: In 1961, "Kutsukake Tokijiro" starring Raizo ICHIKAWA (the eighth) gained attention as a new type of matatabi (wandering gambler) film, and he went on create the golden age of Daiei period film; working on numerous program pictures including "Zatoichi" starring Shintaro KATSU and the film adaptations of "Nemuri Kyoshiro" (1963 - 1969) starring Raizo ICHIKAWA.
Japanese: 1961年、市川雷蔵(8代目)主演の『沓掛時次郎』が新しいタイプの股旅映画として注目され、以降、勝新太郎主演座頭市や市川雷蔵主演眠狂四郎映画版(1963年-1969年)をはじめとしたプログラムピクチャーを数多く手がけ、大映時代劇の黄金期を作った。
English: In particular, he pioneered the use of the stroboscope in a Nemuri Kyoshiro full moon killing scene for film adaptations of "Nemuri Kyoshiro" (1963 - 1969) (fourth installment in 1964) to create fascinating visuals, which was symbolically incorporated into later works.
Japanese: 殊に『眠狂四郎映画版(1963年-1969年)』（1964年、シリーズ第4作）において、眠狂四郎の円月殺法のシーンで初めてストロボスコープを用い妖艶な演出を施し、以後象徴的に採り入れられた。