nntsuzu/KFTT huggingface dataset:
English: This work won the Japan Film Culture Award and came first in the best ten films selected by the Japan Broadcasting Corporation.
Japanese: 同作は、日本放送協会映画ベストテン第1位、日本映画文化賞を受賞する。
English: The film "Nijushi no hitomi" (Twenty-Four Eyes) won the Blue Ribbon Prize, the Golden Globe Award for best foreign language film, etc. in 1954.
Japanese: 1954年（昭和29年）『二十四の瞳(映画)』で、ブルーリボン賞(映画)、ゴールデングローブ賞_外国語映画賞などを受賞。
English: This work and another film "Onna no sono" (literally, the Garden of Women) won first and second place of 'the top ten of Kinema Junpo magazine' of that year, presiding over "Seven Samurai" by Akira KUROSAWA.
Japanese: 同年の「キネマ旬報ベストテン」では同作と『女の園』が黒澤明の『七人の侍』を抑えて1位・2位を独占する。
English: After that, he was unlucky because works such as "Senjo no kataki yakusoku" (literally, Firm Pledge at the Battlefield) were put on hold due to the question of profitability raised by Shochiku.
Japanese: その後、『戦場の固き約束』などが、興行上の採算性に対する疑義で松竹側からお蔵入りにされるなどの不遇に遭う。
English: He quit Shochiku in 1964 and found his way into the field of television, and produced television dramas such as the "Kinoshita Keisuke Hour."
Japanese: 1964年（昭和39年）に松竹を退社し、テレビ界にも進出、『木下惠介アワー』などテレビドラマも製作した。
English: He founded Keisuke KINOSHITA Productions (currently, DREAMAX TELEVISION INC.) in 1964.
Japanese: 1964年に木下惠介プロダクション（現在のドリマックス・テレビジョン）を設立する。
English: TBS (a Japanese broadcasting company) gave him a fixed slot and he produced many television dramas such as the "Kinoshita Keisuke Theater" and the "Kinoshita Keisuke Hour."
Japanese: TBSに『木下惠介劇場』『木下惠介アワー』などの固定枠を提供されて多くのテレビドラマを制作した。
English: He established 'Yonki no kai' (literally, the group of four horsemen) together with Akira KUROSAWA, Kon ICHIKAWA and Masaki KOBAYASHI in 1969.
Japanese: また、1969年には黒澤明、市川崑、小林正樹と共同プロダクション「四騎の会」を設立した。
English: Although it received attention because of the four famous directors, the movie that was to be co-directed by the four directors never was actualized.
Japanese: 4大巨匠揃い踏みということで注目を集めたが、当初発表された4人共同監督による映画は結局実現しなかった。
English: KINOSHITA worked as a movie director again with the film "Sri Lanka no ai to wakare" (Love and Separation in Sri Lanka) in 1976 and returned to Shochiku Co., Ltd. in 1979.
Japanese: 1976年（昭和51年）『スリランカの愛と別れ』で再び映画監督に、また1979年（昭和54年）には松竹に復帰する。
English: He was awarded the Shiju hosho (Medal of Honor with Purple Ribbon) in 1977 and the Kun Yonto Kyokujitsu Shojusho (the Order of the Rising Sun, Gold Rays with Rosette) in 1984 and was selected as Bunkakorosha (Person of Cultural Merits) in 1991.
Japanese: 1977年（昭和52年）紫綬褒章を受章、1984年（昭和59年）には勲四等旭日小綬章を受章、1991年（平成3年）に文化功労者に選出される。
English: He lived in Tsujido Kumanomori, Fujisawa City, Kanagawa Prefecture from 1948 up until his last years.
Japanese: 1948年（昭和23年）から晩年近くまで、神奈川県藤沢市辻堂熊の森に住んでいた。
English: He died of cerebral infarction at his home in Minato Ward, Tokyo at 3:10 a.m. on December 30, 1998. He was eighty-six.
Japanese: 1998年（平成10年）12月30日午前3時10分、脳梗塞のため東京都港区(東京都)の自宅で死去、86歳だった。
English: He was regarded as one of the two top directors in th Japanese film industry together with Kurosawa and his reputation in Japan was actually greater than that of Kurosawa's.
Japanese: 1960年代までは黒澤明と並ぶ日本映画の両雄と見なされ、国内での評価はむしろ黒澤を上回ることが多かった。
English: However, since he won less formal overseas awards than Kurosawa and most of his works were based on everyday life rather than dramatic and stimulating events, he quickly became a forgotten master in later years.
Japanese: しかし海外での受賞が少ないことや、基本的に日常派で華々しい話題性や刺激に乏しい作品が多いこともあり、晩年は急速に忘れられた巨匠と化しつつあった。
English: His name was incorrectly given during a section recalling people who died during the year in the forty-ninth NHK Kohaku Utagassen (NHK Year-end Grand Song Festival).
Japanese: 第49回NHK紅白歌合戦ではその年の物故者を振り返るコーナーで木下の名前が読み間違えられたこともある。
English: However, his sophisticated way of talking and techniques and keen sense of social perspective are being reappraised after his death.
Japanese: しかし死後は、その洗練された話法やテクニック、社会的視点の鋭さなどの再評価が進んでいる。
English: Although it is said that he used words in a feminine way (such as in a book 'Kinuta satsueijo to boku no seishun' (literally, The Kinuta Studio and My Youth) by Hideo ONCHI.), there are no other specific episodes that prove his sexuality.
Japanese: 女性的な言葉使いをすることが多かった（恩地日出夫「砧撮影所とぼくの青春」など）が、それ以上のセクシャリティを示すような具体的エピソードは無い。
English: (However, in a retrospective essay of the screenwriter Yoshio SHIRASAKA, he wrote that 'KINOSHITA was famous for being gay and all of his assistant directors were beautiful young men.')
Japanese: （ただし、脚本家の白坂依志夫の回顧エッセイでは、「ホモ・セクシャルで有名な木下の助監督は、すべて美青年であった」と記述されている。）
English: The book 'Kinoshita Keisuke den' (Biography of Keisuke KINOSHITA) introduces what KINOSHITA said about his marriage, where he gave up on his wife during their honeymoon.
Japanese: 新婚旅行で見切りをつけたという本人の弁は三国隆三「木下恵介伝」に紹介されている。
English: The book 'Tensai kantoku Kinoshita Keisuke' (literally, Genius director Keisuke KINOSHITA) by Hideo OSABE includes a testimony from his former wife that they separated without any sexual relationship and this shows that their separation was similar to what is known today as a "Narita divorce" (a divorce immediately after the honeymoon).
Japanese: 性的関係のないまま離別したという相手の女性の証言は長部日出男「天才監督木下恵介」に紹介されており、今で言う成田離婚に近いものであったようである。
English: Similar to Yasujiro OZU, he almost never had acts of sexual scenes in his works.
Japanese: 作品でも、小津安二郎と同様にほとんど性描写をしない演出が特徴的である。
English: Shiro TOYODA (January 3, 1906 - November 13, 1977) was a Japanese film director in Japan.
Japanese: 豊田四郎（とよだしろう、1906年1月3日-1977年11月13日）は、日本の映画監督。
English: He willingly made films based on literary works that dealt with people fighting against incurable diseases such as "Kojima no haru" (Spring on a Small Island) and "Kokotsu no hito" (The Twilight Years), but he was later often criticized for reproducing incorrect information and treatments verbatim from the original.
Japanese: 『小島の春』や『恍惚の人』など、難病と戦う人々を扱った文芸作品も進んで映画化したが、誤った知識や対処法を原作どおりに描いたために、後年たびたび批判の対象となる。
English: He was a homosexual (a well-known claim that appears in essays by Ryo IKEBE and Hisaya MORISHIGE), and was particularly cruel to actress.
Japanese: ホモセクシャル（このことは池部良や森繁久弥の随筆に記されており、有名な話である）であり、女優へのしごきは人一倍厳しかった。
English: On November 13, 1977 he suffered a fatal heart attack during the wedding reception of actor Kinya KITAOJI.
Japanese: 1977年11月13日、俳優・北大路欣也の結婚披露宴中に心臓発作で倒れ急逝。
English: Ishiro HONDA (May 7, 1911 - February 28, 1993) was a Japanese movie director.
Japanese: 本多猪四郎（ほんだいしろう、1911年5月7日-1993年2月28日）は日本の映画監督。
English: Many published documents write his name as Inoshiro and he was actually nicknamed 'Ino-san' or 'Inoshiro-san,' the correct reading of his name is Ishiro.
Japanese: なお名の読みは、「いのしろう」とした書が多く出版されており、また本人もニックネームで「いのさん」「いのしろさん」などと呼ばれることが多かったが、本人の名の正しい読みは「いしろう」。
English: He graduated from the Cinema Department of the College of Art, Nihon University in 1933 and joined PCL (Photo Chemical Laboratory, the predecessor of Toho).
Japanese: 日本大学芸術学部映画学科卒業後、1933年、PCL（東宝の前身）に入社。
English: Soon after he returned to work, he was drafted again to mainland China where he fought the eight years until the end of the war at the mainland front line.
Japanese: 復帰してもすぐ中国大陸に召集され、終戦まで8年間も大陸の戦線で軍隊にいた。
English: Therefore, even through HONDA joined the company before YAMAMOTO's two other apprentices, Kurosawa (who debuted as a movie director with "Sugata Sanshiro" in 1943) and Taniguchi (who debuted as a movie director with "Ginrei no hate" in 1947), his debut as director and promotion to full director was significantly later with "Aoi Shinju" (The Blue Pearl) in 1952.
Japanese: そのため、本来は山本門下の3人のうち最も先輩だったにもかかわらず黒澤（1943年『姿三四郎(映画)』で初監督）、谷口（1947年『銀嶺の果て』）に対して1952年、『青い真珠』で初監督と監督昇進が大幅に遅れた。
English: "The Mysterians" was released in 1957 by MGM, "H-Man" was released in 1959, "Battle in Outer Space" in 1959 and "Mothra" in 1961 by Columbia Pictures Corporation; "King Kong vs. Godzilla" was released in 1962 and "King Kong Escapes" in 1967 by Universal Pictures; and "Invasion of Astro-Monster" was released in 1965 and "The War of the Gargantruas" in 1966 by Paramount Pictures Corporation throughout the U.S.
Japanese: 1957年『地球防衛軍(映画)』はMGM配給、1959年『美女と液体人間』、1959年『宇宙大戦争』、1961年『モスラ』はコロムビア映画の配給、1962年『キングコング対ゴジラ』と1967年『キングコングの逆襲』はユニバーサル映画配給、1965年『怪獣大戦争』と1966年『フランケンシュタインの怪獣サンダ対ガイラ』はパラマウント映画配給で全米公開された。
English: HONDA was virtuous, sincere and gentle. He worked hard for movies, lived life to the fullest, and his life ended quietly, typical of HONDA. February 28, Heisei 5, Akira KUROSAWA'
Japanese: 「本多は誠に善良で誠実で温厚な人柄でした　映画のために力いっぱいに働き十分に生きて本多らしく静かに一生を終えました　平成五年二月二十八日　黒澤明」。
English: HONDA once played a cameo role in "Ijintachi tono natsu", directed by his apprentice, Nobuhiko OBAYASHI.
Japanese: また彼を師とする大林宣彦監督による『異人たちとの夏』にカメオ出演したこともある。
English: After his death, his portrait appeared as the portrait of main character boy's grandfather in the following two movies: "Mothra (movie in 1996)" directed by Okihiro YONEDA, who continued a relationship with HONDA since they were in the KUROSAWA group, and an SFX movie dedicated to HONDA, "Mizu no Tabibito: Samurai Kids", directed by Nobuhiko OBAYASHI.
Japanese: また没後に前述の黒澤組にいた関係で交友があった米田興弘監督の『モスラ(1996年の映画)』と大林監督の『水の旅人侍KIDS』（本作は本多に捧げられた特撮映画）の2作品で主人公の少年の祖父の肖像として本多監督の肖像が出演している。
English: HONDA was a movie director who was consistently involved with cinematography and the use of "special effects" to create image effects and examples start from his frequent use of underwater filming in his debut movie, "Aoi Shinju," and the introduction of Hi-Vision synthesizing in KUROSAWA's movies, "Dreams" and "Rhapsody in August,"which HONDA worked as an assistant producer.
Japanese: 劇映画の処女作『青い真珠(映画)』における水中撮影の多用から、黒澤明の演出補という形で参加した『夢(映画)』、『八月の狂詩曲』のハイビジョン合成の導入に至るまで、一貫して撮影技術、映画効果としての“特撮”に関わり続けた映画監督である。
English: On the other hand, he also shot diverse types of movies, ranging from melodramas,business man comedies and movies accompanied by popular songs.
Japanese: その一方、メロドラマ、サラリーマン喜劇、歌謡映画など幅広い作品がある。
English: Akira KUROSAWA was a typical artist who pursued a subject or an image for his movies without any regard to the budget or time limits.
Japanese: 黒澤明が自分の作品に対して予算や時間のオーバーも辞さず、テーマや納得できる映像を追求した芸術家タイプだった。
English: In contrast, HONDA was a typical craftsmen whose work was tailored to the company's plans and kept within the budget and time limit.
Japanese: それに対して、本多の作品は会社の求める企画を予算や時間を守って仕上げる職人タイプであった。
English: If KUROSAWA is asked to prepare a meal, he would make a full course dinner with more food than necessary..
Japanese: 「“飯を作れ”というと、黒澤は食べきれないほどのフルコースを用意する。
English: He showed restraint and did not take the front line when the special effects scenes which were the climax of special effects movies.
Japanese: 特撮映画では最大の見せ場である特撮シーンに水を差すことなく、あくまで一歩下がった位置を守っている。
English: According to Yoshio TSUCHIYA, when a scene of a policeman directing evacuees was taken, KUROSAWA voiced, 'In real-life, a policeman would also evacuate instead of directing evacuees.' but HONDA answered 'Ideally, policemen should be like this.'
Japanese: 土屋嘉男によると、警察官が避難民の交通整理をしているシーンに対して黒澤明が「本当ならあんなところで交通整理せずに逃げちゃうだろう」と言ったが、それに対して「警官はああでなきゃいけないんだ」と答えたという。
English: Director HONDA was careful to unify the performers' eye levels when facing a supernatural phenomenon in a special effects movie.
Japanese: 本多監督が特撮映画の演出でこだわったのは、超常現象を目の当たりにしての、演技者の目線の統一だった。
English: HONDA aimed at achieving perfect realism and said, 'I do not want to work with anyone who does not intend to act earnestly just because it is a children's movie.' when casting.
Japanese: 俳優を決める際には、「子供が見る映画だからといって、真剣に演じられない人は私の映画には出てもらわなくて結構」と述べ、徹底したリアリズムを心がけた。
English: Kenji SAHARA recalled that HONDA tried to have his actors avoid overreactions, which were frequently seen in movies featuring special effects.
Japanese: 佐原健二によれば、俳優の演技に関しては、特撮主体の映画で見られがちなオーバーアクションを極力避けた。
English: HONDA was always friendly to the staff and actors at the film site and was never angry with them.
Japanese: 現場では終始にこやかであり、スタッフや俳優を怒ることなどは一度もなかったという。
English: When advising actors on their performance, he often showed them model performances, which put professional actors to shame.
Japanese: また、演技指導に関しては、積極的に自ら模範演技をしてみせ、プロの俳優はだしであったという。
English: Tai KATO (August 24, 1916-June 17, 1985) was a Japanese film director.
Japanese: 加藤泰（かとうたい、1916年8月24日-1985年6月17日）は、日本の映画監督。
English: His major works include "Kutsukake Tokijiro yukyo ippiki" (Tokijiro KUTSUKAGE: Man of Honor), "Meiji kyokakuden sandaime shumei" (The Story of a Meiji Knight, the Third Generation), and the "Hibotanbakuto" (The Scarlet Peony Gambler) series.
Japanese: 代表作に『沓掛時次郎遊侠一匹』、『明治侠客伝三代目襲名』、『緋牡丹博徒』シリーズなどがある。
English: He learned from Yasutaro YAGI, and moved with Yagi to Riken Film and Manchuria Film Association, where he made documentary films.
Japanese: 八木保太郎に師事し、理研映画、満州映画協会を八木とともに転々とし、記録映画を作る。
English: He entered Daiei Kyoto Studios as an assistant director and became involved in making films directed by Daisuke ITO, whose films had captivated him when he was a boy.
Japanese: 大映京都撮影所の助監督部に入社し、少年時代映画のとりことなるきっかけを作った伊藤大輔(映画監督)監督作品につくこととなる。
English: However, he was fired by Daiei during the 'Red Purge' for being the chief clerk of Daiei Labor Union, and moved to an indie Takara Production.
Japanese: しかし、大映の組合書記長を務めたことでレッド・パージの対象となり同社を解雇され、独立プロの宝プロダクションに転職。
English: In 1956 he moved to Toei Kyoto Movie Studios, directing many masterpieces featuring Toei star Kinnosuke YOROZUYA, such as "Kaze to onna to tabigarasu" (The Wind, a Woman and a Traveling Crow), in which the main characters daringly appeared with no makeup on in an age when stars generally wore white Shironuri makeup; "Mabuta no haha" (Mother of My Dreams), a reworking of Shin HASEGAWA's novel; and the unique "Sanada fuunroku" (Tale of the Sanada Family), a highly regarded example of the 'New Wave of Toei Jidaigeki,' which encompassed musicals, science fiction and social criticism.
Japanese: 1956年、東映京都撮影所に移籍し、白塗りのスターが活躍するのが主流だった時代に、あえて主要キャストがノーメイクで出演する『風と女と旅鴉』、長谷川伸の名作を甦らせた『瞼の母』、そしてミュージカルやSF、リアルタイムの時代批判などさまざまな要素を詰め込んで「東映時代劇のヌーヴェルヴァーグ」と絶賛された異色作『真田風雲録』など、東映の看板スターだった萬屋錦之介と組んで数々の傑作を監督する。
English: During a period in which Toei shifted from mass vendetta period dramas to yakuza films, Kato directed "Kutsukake Tokijiro yukyo ippiki," his masterpiece whose title became a byword for Tai KATO; "Brutal Tales from the End of the Edo Period" a realistic period drama about internal conflict in the Shinsengumi (a special police force at the end of the Tokugawa Shogunate); and "Meiji kyokakuden sandaime shumei" (The Story of a Meiji Knight, the Third Generation), which presented life in the Japanese Mafia with a unique sense of beauty and lyricism and greatly influenced later yakuza films.
Japanese: 東映が集団抗争時代劇から任侠路線へと移行する時期には、タイトルが加藤泰自身の代名詞ともなる最高傑作『沓掛時次郎遊侠一匹』をものにし、新選組内部の抗争を描いたリアリズム時代劇『幕末残酷物語』などを撮り、そして、やくざの生きざまを独特の美意識と叙情で描いてその後の任侠映画に多大な影響を与えた『明治侠客伝三代目襲名』を監督する。
English: His creative activities reached a peak from 1967 to 1970; he directed the masterpiece "Oryu sanjo" (The Appearance of Oryu), part of the "Hibotanbakuto" series, starring Junko FUJI; made successful action movies such as "By a Man's Face Shall You Know Him" and "The Eighteen-year Sentence" which starred Noboru ANDO; and directed "Showa onna bakuto" (A Showa Lady Gambler), a revenge story featuring a strange curse in which Kyoko ENAMI, a star of yakuza films who had moved from Daiei to Toei, played the lead.
Japanese: その創作活動は1967年から1970年にピークを迎え、藤純子主演の『緋牡丹博徒』ではシリーズ中屈指の傑作である『お竜参上』を監督し、安藤昇を主演に迎え『男の顔は履歴書』や『懲役十八年』などのアクション映画を成功させ、大映の任侠スターだった江波杏子を東映に迎えて一種異様な怨念に彩られた復讐物語『昭和おんな博徒』を手掛けた。
English: In addition, following meetings with directors from Shochiku such as Yoshitaro NOMURA and Yoji YAMADA, he directed the unique suspense "Minagoroshi no reika" (Annihilation Song), in which Makoto SATO played a multiple killer out for revenge.
Japanese: 更に野村芳太郎、山田洋次ら松竹の映画監督たちとの交流から、佐藤允が復讐の連続殺人鬼を演じる異色サスペンス『皆殺しの霊歌』を監督した。
English: In the 1970's, he mainly worked on scripts for TV period dramas, although he directed "The Dark Side of Ranpo EDOGAWA," regarded as a masterpiece of occult cinema, and epic series such as "Musashi MIYAMOTO," "Life Game" and "Flower and Dragon" for Shochiku, and "Nihon kyoka den" (Legend of the Yakuza) and "Like a Flame" for Toho.
Japanese: 1970年代には松竹で大作シリーズ『宮本武蔵』『人生劇場』『花と龍』のほか、カルト映画の傑作とされる『江戸川乱歩の陰獣』を、東宝で『日本侠花伝』と『炎のごとく』を監督した以外は、テレビ時代劇の脚本が中心となる。
English: In 1981, aiming to make the 'ultimate documentary,' he directed "The Ondekoza" which showcased the youth and passion of the members of the Ondekoza drum troupe from Sado, Niigata Prefecture.
Japanese: 1981年、佐渡の鬼太鼓座メンバーの若さと情熱を描いて「究極のドキュメンタリー」を目指した『ざ・鬼太鼓座』を監督。
English: The film, unreleased during his lifetime due to conditions at the production company, was shown for the first time in a special showing titled 'Tai KATO, Man and Woman, the Aesthetics of Feeling' which was held at the Eurospace theater in 1994.
Japanese: この作品は制作会社の事情により加藤の生前に日の目を見ることはなく、1994年にユーロスペースで開催された特集上映「加藤泰男と女、情感の美学」で初公開された。
English: His films are marked by his unique style, which is characterized by extreme low angle and close-up shots.
Japanese: 極端なまでのローアングルとクローズアップを特徴とする独自な映像スタイルは、加藤泰映画の代名詞として知られている。
English: He was so obsessed with low angle shots that he is said to have dug up an asphalt-covered public road in order to position the camera and ordered an electric line that came into shot to be cut.
Japanese: ローアングルについてはアスファルト舗装されている公道を掘り返してカメラを据え、電線が写った際には「電線を切れ」と言ったという凝り性。
English: In his later years, he wrote many books on the work of his uncle, Sadao YAMANAKA, and other aspects of Japanese cinema.
Japanese: 晩年は、叔父・山中貞雄の業績をまとめるなど日本映画関係の著書を多数残している。
English: He died suddenly in 1985 while working on a script based on Saikaku IHARA's novel "Koshoku gonin onna" (Love Stories about Five Women).
Japanese: 次回作として井原西鶴原作の『好色五人女』映画化のシナリオ作業に取りかかるが、1985年に急逝した。
English: His films, which have a unique style, have been highly acclaimed by many film fans and critics, even after his death, and special screenings of them have often been held.
Japanese: その独自のスタイルを貫いた映画は、死後も多くの映画ファンや評論家に絶賛され、特集上映もしばしば開催されている。
English: Soji OKITA (summer, 1842 or 1844 - July 19, 1868) was a member of the Shinsengumi, a special police force in Kyoto, at the end of Edo period (there are two theories about the year of his birth, but no decisive historical materials against either of them have been found. Also, no historical materials confirming his birth date have ever been identified, and all that is known is that he was born in summer).
Japanese: 沖田総司（おきたそうじ、天保13年（1842年）又は15年（1844年）夏の日-慶応4年5月30日(旧暦)（1868年7月19日））（生年については2つの説があり、どちらも決定的な否定史料が見つかっていない。また、生誕時の月日に関しては特定できる史料が一切出ておらず、夏であったということしか分かっていない）は、江戸時代後期、幕末の新選組の隊士。
English: He had two older sisters, one of whom, Mitsu OKITA, married Rintaro OKITA, making him the head of the family.
Japanese: 2人の姉がおり、沖田家は姉の沖田みつが婿の沖田林太郎を迎えて相続させる。
English: Mitsu's great grand son Tetsuya OKITA (1930-) is a scholar of public administration and an emeritus professor of the department of politics and economics at Meiji University.
Japanese: みつの曾孫の沖田哲也（1930年-）は行政学者で明治大学政経学部名誉教授。
English: At the age of about nine, he was apprenticed to Shuzo KONDO, who taught the Tennen Rishin-ryu style of martial arts at a dojo in Ichigaya, Edo, and it was here at the Shieikan dojo that he met fellow students Isami KONDO and Toshizo HIJIKATA, who would later be central in the formation of the Shinsengumi.
Japanese: 9歳頃に、江戸市谷に天然理心流の道場を開く近藤周三の内弟子となり、試衛館にて後に新選組結成の中核となる近藤勇、土方歳三らと同門になる。
English: Okita's genius with the sword is said to have been unequalled although his teaching style was rather rough.
Japanese: 沖田は無類の天才剣士であったと言われるが、江戸の頃の教え方はかなり荒っぽいものであったらしい。
English: He joined the Roshigumi (an organization of masterless samurai) upon its formation in 1863 and left for Kyoto, remaining there with Kondo and forming the Shinsengumi after the group split.
Japanese: 文久3年（1863年）の浪士組結成に参加して上洛、分裂後は近藤らに従い残留し、新選組を結成する。
English: Okita's First Corps was constantly tasked with important missions and, although the Shinsengumi was filled with expert swordsmen, often had the most number of kills, and was involved in the assassinations of Kamo SERIZAWA and Hikojiro UCHIYAMA in October, 1863.
Japanese: 沖田の一番隊は常に重要な任務をこなし、剣豪ひしめく新選組の中でも一、二を争う程多くの人を斬ったと言われ、この時期では9月の芹沢鴨暗殺、内山彦次郎暗殺など手がけた。
English: Okita's first recorded kill was on the evening of May 11, 1863.
Japanese: 沖田が人を斬ったことを記す初めての記録は文久3年3月24日(旧暦)の夜。
English: His opponent was Yoshio TONOUCHI, a member of the Roshigumi's First Unit, who had come at Hachiro KIYOKAWA's request.
Japanese: 清河八郎の呼びかけに集まった浪士組の一番組に在籍していた殿内義雄だった。
English: After the Ikedaya Incident of July 8, 1864, where he was involved in the killings of several members of the anti-Shogunate faction, he collapsed after coughing up blood from tuberculosis (according to many theories) but based on his subsequent involvement in the Shinsengumi, it is unreasonable to think that he developed lung tuberculosis on that day.
Japanese: 元治元年（1864年）6月5日(旧暦)の池田屋事件で、討幕派数人を切り伏せ活躍したものの、直後に肺結核により喀血して倒れる（諸説あり）とされていたが、その後の新選組史において依然として活躍していることから、この日に肺結核が発症したとは考えにくい。
English: In February 1865, he was sent after Shinsengumi Vice Commander Keisuke YAMANAMI, who had attempted to desert, and arrested him in Kusatsu City, Omi Province.
Japanese: 慶応元年（1865年）2月、総長の山南敬助が脱走した事件では、追っ手として差し向けられ近江国草津市で捕らえる。
English: Although Okita seemed to regard Yamanami as an older brother, he barely touched upon Yamanami's death in a letter he sent home.
Japanese: 沖田は山南を兄のように慕っていたとされるが、故郷への手紙では山南の死に関して軽く触れるに留められている。
English: He was active on the front lines until 1867, after which, unable to take part in the Battle of Toba-Fushimi, he was escorted to Osaka.
Japanese: 第一線で活躍することがなくなるのは慶応3年（1867年）以降で、鳥羽伏見の戦いは参戦できず大阪に護送される。
English: (The most widely-accepted theory at present is that he was injured on his way to the Battle of Toba-Fushimi and developed tuberculosis on the boat he was being escorted to Osaka on.)
Japanese: （現在は、鳥羽伏見の戦いに向かう間に負傷し、大阪に護送される船中において肺結核を患ったとする説が有力である。）
English: After defeat at the Battle of Toba-Fushimi, he sailed back to Edo with other members and although according to several theories he joined the Koyo Chinbutai (the successor to the Shinsengumi), he was forced to drop out halfway.
Japanese: 鳥羽伏見の敗戦後、隊士と共に海路江戸へ戻り、甲陽鎮撫隊に参加する（諸説あり）も中途での落伍を余儀なくされる。
English: After that, it is thought that Ryojun MATSUMOTO, a retainer of the Shogun, made arrangements for him to hide in a plant shop in Sendagaya, where he died in 1868.
Japanese: 以後は幕臣の松本良順により千駄ヶ谷の植木屋に匿われたとされ、慶応4年（1868年）に死去。
English: Since his date of birth is uncertain, there are several opinions about how old he was when he died, but he is believed to have been between twenty-five and twenty-seven.
Japanese: 生年が明確で無いため享年については諸説あり、25～27と考えられている。
English: The purpose of their attack was to avenge the murder of their leader, Kashitaro ITO, by the Shinsengumi the previous month, but Okita had left for the Fushimi Magistrate's office and therefore escaped the attempt.
Japanese: 慶応3年12月18日(旧暦)、沖田が療養のため滞在していた近藤の妾宅を、元御陵衛士・阿部十郎、佐原太郎、内海次郎の3人が襲撃した。
English: In the evening of the same day, Isami KONDO was shot and injured by Abe and the others on his way back from Nijo Castle.
Japanese: 前月に彼らの指導的立場であった伊東甲子太郎を殺害した新選組への報復として狙われたものだが、沖田は伏見奉行所へと出立した後で難を逃れた。
English: In the evening on the same day, Isami KONDO was shot and got injured by Abe and other members when he was back from Nijo-jo Castle.
Japanese: 同日夕刻、阿部らは二条城から戻る途中の近藤勇を銃撃、負傷させている。
English: The inscription on the Okita family grave stone states that he held menkyo-kaiden (a document handed down by a teacher to the student he believes is most capable of carrying on his art) for the Hokushin Itto-ryu school as well as Tennen Rishin-ryuu.
Japanese: また、沖田家累代墓碑には天然理心流の他、北辰一刀流の免許皆伝を得ていた旨も記されている。
English: There are three theories about his age when he died: twenty-four according to the Okita family grave stone; twenty-five according to documents held by the Okita family; and twenty-seven, if, as described in Shikanosuke KOJIMA's "Ryoyushiden", he was twenty-two when he left for Kyoto.
Japanese: なお、没時年齢については沖田家累代墓碑の24歳、沖田家文書の25歳、『両雄士伝』（小島鹿之助）における上洛時の年齢（22歳）から計算した27歳の3説が存在する。
English: There are also two opinions about the place where he died, one being Sendagaya and the other Imado (Taito Ward), but at present, it is widely accepted that after staying in Imado to recuperate for a while, he moved to Sendagaya and died there.
Japanese: また、終焉地も千駄ヶ谷のほか、今戸（台東区）説もあるが、現在では、今戸に一時逗留した後に千駄ヶ谷に移り、そこで亡くなったとする説が有力である。