nntsuzu/KFTT huggingface dataset:
English: Shunkan, who was alone in Kikaiga-shima Island because of Kiyomori's continuing anger towards him, was visited after a few years by his pupil Ario who came all the way from Kyoto to see him; but Shunkan starved himself to death while in Ario's care.
Japanese: 清盛の怒りが解けず、鬼界が島に一人残された俊寛は、数年後に都から、はるばる訪ねて来た弟子の有王の世話をうけながら、自ら絶食して生命を絶った。
English: Ario brought back his master's cremains and buried them on Mt. Koya, but Yasuyori is also said to have obtained a portion and buried them under the base stone of Shunkan's gravestone composed of five piled-up stone pieces.
Japanese: 有王は主人を火葬して骨を持ち帰り、高野山に埋葬したが、康頼はその分骨をゆずり受けて、壇の下に葬ったとも言われている。
English: Kiyomoto, the second head of the house, inherited the post of hoji during 1207 and 1210, but he was later dismissed on suspicion of siding with the Retired Emperor Gotoba in the Jokyu War.
Japanese: 二代目の清基は承元年中に保司職を継承したが、後に、承久の乱に後鳥羽上皇方に加わったとして保司職を解任された。
English: Although he denied the allegation and pleaded his innocence to Kamakura, he lost his case and was decapitated in Kamakura for perjury.
Japanese: 彼はそれを不服として無実を鎌倉に訴えたが、裁判は破れ、偽りを述べた罪で鎌倉で首を斬られた。
English: In the 26th volume of "Azuma Kagami"(The Mirror of the East), it is stated that TAIRA no Kiyomoto forfeited Oe-no-ho on November 20, 1221.
Japanese: 『吾妻鏡』二十六に、承久3年（1221年）10月28日、平清基麻植保没収の記事がある。
English: No longer having the government post, the third head of the family, Toshimoto, went to Kyoto but, as a member of the losing side in the Jokyu War, was unable to find a lord to serve.
Japanese: 三代目の俊職は官職を失って浪々の身となり京に出たが、承久の変の敗者には仕える主人も現れなかった。
English: SUWA no gyobu Samon, the mastermind of the incident, was decapitated, and Toshimoto and Saemon MAKI were, like Toshimoto's grandfather Yasuyori, banished to Kikaiga-shima Island, whereupon nothing more was heard of Toshimoto; and the Taira clan of the Morifuji died out.
Japanese: 首謀者の諏訪刑部左門は斬首となり、俊職と牧左衛門は、昔、祖父の康頼が流されていた鬼界が島に流されて消息を絶ち、森藤の平家は絶家した。
English: Yasutoshi, Toshimoto's uncle, gathered his family together, left Morifuji for Asuha district in Echizen Province where his father Yasuyori had served, and joined Tanrei-in Temple as a priest.
Japanese: 俊職のおじ康利は一族をまとめて森藤を引き払い、昔、父康頼が赴任した越前国足羽郡の縁者を頼って彼の地へ去り、康利は出家して探嶺院に入った。
English: His son Yasutsuna followed him into the priesthood, renaming Tanrei-in Temple Josho-ji Temple (Jodo Shinshu sect) on Mt. Shinko and thereby becoming founder and Gon Daisozu (the provisional highest grade that can be held by one who has reached the second highest rank in the hierarchy of Buddhist priests); thereafter, Yasutsuna's descendants entered the priesthood and made a name for the family.
Japanese: その子の康綱も出家して後を継ぎ、探嶺院を浄土真宗心光山常照寺と改め、権大僧都となり、同寺の開祖となり、子孫は代々僧となって名を上げた。
English: "Azuma Kagami" describes in detail the construction of the memorial column in Noma by Yasuyori in Mihama Town, Aichi Prefecture.
Japanese: 愛知県美浜町(愛知県)の野間大坊康頼による大坊創建の事情については、『吾妻鏡』に詳しく述べられている。
English: There is also a story that Yoritomo built it as a token of his gratitude for Yasuyori's excellent conduct in 1190, when Yoritomo visited his father's (Yoshitomo's) mausoleum, however questions remain.
Japanese: また、頼朝が父義朝の廟所に参拝した折（建久元年）、その奇特な行いを謝して設けた供養塔と言い伝えられているが、疑問点がある。
English: When Yoritomo died, Yasuyori was still alive and would live for a further 20 years, and thus Yoritomo could not possibly have erected a memorial column for Yasuyori.
Japanese: 当時康頼はまだ健在で、その後20年も生きていることから、頼朝が康頼の供養塔を建てるはずがない。
English: Around the end of the Meiji period, Aijiro TEZUKA, the author of the History of Awa Province had doubts about this story and asked the government office of Chita district to investigate it.
Japanese: 明治の末頃、阿波史の著者手束愛次郎も疑問をもち、当時の知多郡役所に調査を依頼した。
English: Yoritomo had rebuilt his father Yoshitomo's grave, which had been in Omido-ji Temple in Noma, and his retainers' grave in 1190.'
Japanese: 「頼朝は建久元年に、野間の大御堂寺にあった父義朝の墓と、家臣の墓を改築した。」
English: Later, however, the story that TAIRA no Yasuyori repaired the neglected grave of Yoshitomo, erected a temple building (the predecessor of Omido-ji Temple) and donated 297510 square meters of paddy fields had become more widely known, with the result that the retainers' memorial column was mistaken for Yasuyori's grave.'
Japanese: 「それが後年になって、平康頼が義朝の墓（この墓でなく以前にあった墓）が荒れているのを修理して、堂宇を建て（大御堂寺の前身）水田三十町歩を寄進したという話の方が有名になり、家臣の供養塔を康頼の墓と誤り伝えたものである。」
English: Contrary to the story, the memorial column was not erected by Yoritomo but by people who had a connection with the temple out of respect for Yasuyori as the founder of Omido-ji Temple.
Japanese: 伝承にいう頼朝が建てたものではなく、後になって、寺に関係した者が、大御堂寺創建者としての康頼を供養して立てたもののようである。
English: Tokuzo TANAKA (September 15, 1920 - December 20, 2007) was a Japanese film director.
Japanese: 田中徳三（たなかとくぞう、1920年9月15日-2007年12月20日）は、日本の映画監督。
English: He came from Higashi Ward (Eastern Ward), Osaka City (current Senba, Chuo Ward (Central Ward), Osaka City).
Japanese: 大阪市東区_(大阪市)（現・中央区_(大阪市)）船場_(大阪市)出身。
English: He studied under Kenji MIZOGUCHI and worked as an assistant director before making his debut as a director in "Bakeneko Goyoda" (Official Business of Monster Cat).
Japanese: 溝口健二らに師事し、助監督を勤めた後に、1958年の『化け猫御用だ』で監督デビュー。
English: He directed popular works such as the film adaptation of Nemuri Kyoshiro played by Shintaro KATSU with the notorious name of Raizo ICHIKAWA (eighth), and the Dog Series played by Jiro TAMIYA.
Japanese: 勝新太郎主演の悪名、市川雷蔵(8代目)主演の眠狂四郎映画版(1963年-1969年)、田宮二郎主演の犬シリーズなどの人気作のメガホンを取る。
English: He contributed program pictures (a short film used to fill blank time between films) at the height of Japanese film, and the number of the films he participated in was great compared to film directors of the same generation.
Japanese: また、日本映画全盛期にプログラムピクチャーを手掛けていただけあってその参加作品数は、同年代の映画監督と比べて膨大。
English: After Daiei went into bankruptcy, he went on the path of a freelancer and directed not only films but many television dramas.
Japanese: 大映倒産後はフリーとなり、映画だけでなく、テレビドラマの監督も多数務めた。
English: The film he took in the same year, "Shonen Kawachi ondotori monogatari" (teenage folk dancer and singer of Kawachi City, Osaka Prefecture) (the biography of Kikusuimaru KAWACHIYA in his teenage years)became his last work.
Japanese: 同年に撮影した『少年河内音頭取り物語』（河内家菊水丸の少年期の実話）が遺作となった。
English: MINAMOTO no Suezane (year of birth unknown - February 16, 1160) was a busho (Japanese military commander) of the end of the Heian Period.
Japanese: 源季実（みなもとのすえざね、生年未詳-平治元年12月30日(旧暦)（1160年2月9日））は、平安時代末期の武将。
English: He was from the lineage that began from the Prince MINAMOTO no Yoshiari of Emperor Montoku, and his father Suenori was a northern bushi (samurai warrior) that served Emperor Toba.
Japanese: 文徳天皇の皇子源能有に始まる家柄で、父の季範は鳥羽天皇に仕える北面武士だった。
English: Due to this relationship, Suezane became the servant of Emperor Goshirakawa during the Hogen War (also called the Hogen Rebellion or Hogen Disturbance) of 1156 and guarded Yodo Road at the beginning.
Japanese: その関係もあり、季実は（保元元年）1156年の保元の乱に際しては後白河天皇の麾下に入り、はじめ淀路の警護に当たる。
English: When the side of Emperor Sutoku started to be defeated, he tightened the security on Ujiji, supplied the Nanto Army (Southern Capital Army), and did the after battle clean up duties of arresting FUJIWARA no Norinaga and MINAMOTO no Narimasa, identified a severed head of beheaded MINAMOTO no Tameyoshi, and transferred hostage MINAMOTO no Tametomo.
Japanese: 本戦において崇徳天皇方が総崩れになると、宇治路を固めて南都軍の備えに当たり、また藤原教長・源成雅の逮捕や、斬首された源為義の首実検、捕虜となった源為朝の護送といった戦後処理を担当した。
English: However, since he did not accompany the visit of Tenno-ji Temple of Shinzei immediately after the war, his court duties were stripped away and faced in-house arrest.
Japanese: しかし乱の直後、信西の天王寺参詣の供を辞退したため、官位を剥奪され篭居する。
English: As a result, he allied with FUJIWARA no Nobuyori and MINAMOTO no Yoshitomo and defeated Shinzei and was temporarily assigned with the position of Kawachi no kami (the governor of Kawachi Province) with the rank of Jugoinoi (Junior Fifth Rank).
Japanese: このため、（平治元年）1159年の平治の乱においては藤原信頼・源義朝に同心して信西を討ち取り、一時的に従五位下河内守に任ぜられる。
English: She was a high court woman official, who was known as Kenshunmonin Minbukyo no tsubone (Woman Director of the Popular Affairs Office) or Tonoin no tsubone (Woman Official).
Japanese: 建春門院民部卿局（けんしゅんもんいんみんぶきょうのつぼね）、洞院局（とうのいんのつぼね）の名を有する女房（高級女官）。
English: She started her official career as a high court official serving TAIRA no Shigeko (Tokitada's younger sister and Emperor Goshirakawa's court lady) and was called Minbukyo (Minister of Popular Affairs) (Kenshunmonin Minbukyo no tsubone).
Japanese: 初め平滋子（時忠の妹・後白河天皇女御）の女房となり、民部卿（建春門院民部卿局）と呼ばれた。
English: When Tokuko gave birth to Imperial Prince Tokihito (later Emperor Antoku) in 1178, Muneko served the prince as his wet nurse, renaming herself Sochi no tsubone.
Japanese: 治承2年（1178年）に徳子が言仁親王（のちの安徳天皇）を出産したのに伴いその乳母となり、候名を帥局（そちのつぼね）と改めた。
English: TAIRA no Tokiie (Tokitada's first wife's son) was among the court officials who were discharged from their official positions and exiled to remote islands after TAIRA no Kiyomori's coup d'etat (Coup of the Third Year of Jisho) in December 1179.
Japanese: 治承3年（1179年）11月に起こった平清盛のクーデター（治承三年の政変）で解官・流罪に処された官人の一人に平時家（時忠の先妻の子）もいた。
English: Rumor has it that Muneko deliberately slandered Tokiie, who was her stepchild, in order to put him into a difficult situation.
Japanese: それは領子が継子時家を陥れるために讒言したからだという噂が流れている。
English: She was appointed as Naishi no suke (a court lady of the first rank) in April 1179 and was given the title of Sochi no tenji then Sochi no suke.
Japanese: その後、治承4年3月に典侍に任ぜられ、帥典侍・帥佐（そちのすけ）と呼ばれるようになった。
English: In 1183, she fled from Kyoto along with her husband, was captured by Minamoto's samurai in the Battle of Dannoura, and returned to Kyoto in May, 1185.
Japanese: 寿永2年（1183年）の平家都落ちに夫とともに随伴し、壇ノ浦の戦いで源氏方の捕虜になって文治元年（1185年）4月に帰京した。
English: Muneyoshi YANAGI (March 21, 1889 - May 3, 1961) was a thinker, religious philosopher, and art scholar who triggered the Mingei (National Art) Movement.
Japanese: 柳宗悦（やなぎむねよし、1889年3月21日-1961年5月3日）は、民芸運動を起こした思想家、宗教哲学者、美術研究家。
English: He was the nephew of Jigoro KANO and started to live in Abiko, Chiba Prefecture (current Abiko City) after being invited by Kano.
Japanese: 嘉納治五郎の甥に当たり、嘉納に招かれるようにしてに千葉・我孫子（現：我孫子市）住んだ。
English: He then invited Naoya SHIGA and found the opportunity to gather men of literature in Abiko.
Japanese: さらに志賀直哉らを呼び、我孫子に文人らが集結するきっかけをつくった。
English: He established Nihon Mingeikan (the Japan Folk Crafts Museum) in Komaba, Meguro Ward, Tokyo City, Tokyo Prefecture (current Meguro Ward, Tokyo Prefecture) in 1936.
Japanese: 1936年、東京府東京市目黒区駒場(目黒区)（現：東京都目黒区）に日本民藝館を設立。
English: His sons were Sori YANAGI (eldest son), who was an industrial designer, Munemoto YANAGI (second son), and Munetami YANAGI (third son), who was a horticulturist.
Japanese: 工業デザイナーの柳宗理（長男）、美術史家の柳宗玄（次男）、園芸家の柳宗民（三男）は息子。
English: He criticized the suppression movement of the Japanese government against the March First Movement that occurred on the Korean Peninsula on March 1, 1919 as 'the ones who are more pitiful than them, who are revolting, are us, who are suppressing them.'
Japanese: 1919年3月1日に朝鮮半島で勃発した三・一独立運動に対する日本政府の弾圧に対し、「反抗する彼らよりも一層愚かなのは、圧迫する我々である。」と批判。
English: While most people that valued Japanese Culture did not show an interest in Korean culture, he focused on Korean Art (especially potteries) and made a collection of Korean porcelains and antique arts not viewed by too many at that time.
Japanese: 同時に、殆どの日本文化人が、朝鮮文化に興味を示さない中、朝鮮美術（とりわけ陶磁器など）に注目し、当時殆ど省みられることのなかった朝鮮の陶磁器や古美術をコレクションする。
English: He had a great understanding of Korean culture and when Gwanghwamun of the former imperial palace of the Yi Dynasty Korea period was about to be destroyed due to the widening of the road, he wrote a criticism 'do not lose it for the unified Korean establishment' in a magazine, "Kaizo" (Reconstruction).
Japanese: 朝鮮の文化にも深い理解を寄せ、京城において道路拡張のため李氏朝鮮時代の旧王宮である景福宮の光化門が取壊されそうになると、これに反対する評論「失はれんとする一朝鮮建築のために」を雑誌『改造(雑誌)』に寄稿した。
English: "Yakimono no hon" (A book of ceramics) (Commentary by Hiroshi MIZUO, Kyodo News, 1985) interpreted by Bernard LEACH, Kanjiro KAWAI, Shoji HAMADA, and edited by Muneyoshi YANAGI was published for Fiftieth Anniversary of the establishment of The Japan Folk Crafts Museum.
Japanese: またバーナード・リーチ・河井寛次郎・濱田庄司述、柳宗悦編『焼物の本』（水尾比呂志解説、共同通信社　1985年）が、日本民藝館創立50周年記念出版で出された。
English: He studied Mokujiki Gyodo and myokonin (pious followers of the Jodo Shinshu sect), who travelled around Japan and built Buddhist statues and left unique 'Mishobutsu' (Smiling Buddha).
Japanese: 江戸時代に全国各地を廻国し造仏活動を行い独特の「微笑仏」を残した木喰行道や妙好人の研究を行った。
English: Up to the 20th volume were published monthly, but the 21st volume published in 1989 was a collection of letters divided into three sections, and the 22nd volume published in 1992 was divided into two sections, and each was sold for the price of approximately 15,000 yen.
Japanese: 20巻目までは毎月刊行されたが、21巻は書簡集上中下巻で1989年に、最終巻の22巻は上下巻で1992年に、各巻とも1万5千円前後で刊行された。
English: He must have devoted more than a decade to compose letters, collecting unpublished manuscripts, and editing documents and chronological history.
Japanese: 新たに発見された書簡の蒐集に加え、未発表の原稿作品の収録、資料や年譜の編集に10年以上費やした為である。
English: An in-house monthly magazine, Mingei Movement, was published between April 1939 to July 1946 except for publications suspended due to the worsening condition of war.
Japanese: 機関誌月刊民芸運動は、1939(昭和14)年4月号から1946(昭和21)年7月号まで、戦局悪化による休刊をはさんで刊行された。
English: Up to Volume 114 of the in-house magazine "Kogei" (Crafts) of Japanese style books were published from 1931 to 1943, and were suspended temporarily before publishing up to Volume 120 from 1946 to 1951.
Japanese: 和装本による機関誌「工藝」は1931(昭和6)年から1943(昭和18)年にかけ114号までが、休刊をはさみ1946(昭和21)年から1951(昭和26)年まで120号を刊行した。
English: Kihachi OKAMOTO (February 17, 1924 - February 19, 2005) was a film director in Japan.
Japanese: 岡本喜八（おかもときはち、1924年2月17日-2005年2月19日）は日本の映画監督。
English: After he graduated from Yonago Shoyogakko (Yonago commercial and sericultural institute) (present Tottori Prefectural Yonagominami High School), he went to Tokyo, and after he graduated from the Commercial Department of the Professional Course at Meiji University, he joined Toho Co., Ltd. to become an assistant film director.
Japanese: 米子商蚕学校（現鳥取県立米子南高等学校）卒業後上京し、明治大学専門部商科卒業後、1943年に東宝に入社し助監督となる。
English: However, with the aggravation of the war situation, he was called to duty and joined an army technical training school, Rikugun Kohei Gakko in Matsue, and he greeted the end of the war at Toyohashi Yobishikan Gakko (preliminary military academy to foster junior army officers).
Japanese: しかし戦局の悪化に伴い招集され、松戸の陸軍工兵学校に入隊、豊橋陸軍予備士官学校で終戦を迎えた。
English: During his stay in Toyohashi, he witnessed numerous fellow soldiers' deaths, and he conceived a great anger to the war.
Japanese: この豊橋滞在時に空襲で多くの戦友たちの死を目の当たりにし、戦争に対する大きな憤りを抱く。
English: After being demobilized, he rejoined Toho Co., Ltd., and accumulated experiences under such film directors as Masahiro MAKINO, Senkichi TANIGUCHI, Mikio NARISE, and Ishiro HONDA.
Japanese: 復員後東宝に復帰し、マキノ雅弘、谷口千吉、成瀬巳喜男、本多猪四郎らに師事して修行を積む。
English: In 1957, against the announcement of Toho to produce a movie "The Young Beast" with the direction of the author of the original, Shintaro ISHIHARA, the assistant directors stood up against the company's plan, then Toho decided to celebrate a scenario selection and promote the best play-writer to the director's post, and Okamoto was picked up for his scenarios of "Desperado Outpost" and "Aa bakudan" (Ah bomb).
Japanese: 1957年に東宝が石原慎太郎に自作『若い獣』を監督させると発表したことに助監督たちが反発、シナリオ選考で一人監督に昇進させることが決まり、岡本が「独立愚連隊」「ああ爆弾」のシナリオで認められて昇進した。
English: Especially, "The Elegant Life of Mr. Everyman," for its uniquely cynical point of view on the mind-set of a man of his generation that lived through World War II in his youth, and "Human Bullet," for its interpretation mixed with comical elements, have been highly evaluated to date, and he himself commented during his life that these two were his favorite films.
Japanese: 特に『江分利満氏の優雅な生活』や『肉弾』は、岡本と同年代の戦中派の心境を独特のシニカルな視点とコミカルな要素を交えて描いた作品として現在まで高い評価を得ており、生前、岡本自身も好きな作品として挙げている。
English: Since the late 1970s, after having left Toho, he directed such films: "Dynamite Bang Bang" (informal literal English title) (1978), "At This Late Date, the Charleston" (1981), and "Dixieland Daimyo" (1986).
Japanese: 東宝退社後の1970年代後半からは、『ダイナマイトどんどん』（1978年）、『近頃なぜかチャールストン』（1981年）、『ジャズ大名』（1986年）などを監督。
English: His film "Rainbow Kids" (1991) won the Japan Academy Prize for best director and best screenplay, and since then many of his films began to further enhance the entertaining aspect.
Japanese: 『大誘拐RAINBOWKIDS』（1991年）では日本アカデミー賞最優秀監督賞、最優秀脚本賞を受賞し、持ち味の一つである娯楽色をさらに前面に押し出した作品が多くなっていく。
English: In 1995, while he did his first location shoots in the Unites States for the film "East Meets West" he suddenly had a speech disorder, and was diagnosed with intradural hematoma/subfural hemorrhaging.
Japanese: 1995年『EastMeetsWest』で初の米国ロケ中に言語障害を起こし、硬膜下血腫と診断される。
English: During the process of filming "Vengeance for Sale," its leading actor Hiroyuki SANADA served him as his assistant in conveying messages and giving instructions (even at the premier presentation, the actor stayed with him on the stage while he was making a speech, and sat close to him in order to inform him of the reactions of the spectators).
Japanese: 『助太刀屋助六』では主演の真田広之が伝令など補佐役を務めた(舞台挨拶などでも傍につき、会場の反応などを伝えていた)。
English: However, in the interviews and lectures he firmly responded to questions including those on his rather old films, and he never lost the desire to make new films.
Japanese: ただし、インタビューや講演などではかなり古い作品についても答えているし、制作意欲も依然旺盛であった。
English: To finalize his speech at the premier of "Sukedachi-ya Sukeroku" (Vengeance for Sale), he gave a cue in a forceful tone of voice, 'Here we go!' to start the film.
Japanese: 『助太刀屋助六』の舞台挨拶では、張りのある「ヨーイ、スタート！」の声を披露している。
English: On February 19, 2005, he died from cancer of the esophagus at his home at Tama Ward, Kawasaki City, Kanagawa Prefecture.
Japanese: 2005年2月19日、食道がんのため神奈川県川崎市多摩区の自宅で死去。
English: Until the last minute of his death, he had an idea to film "Gento Tsujibasha" (Magic lantern stage carriage) by Futaro YAMADA as his newest film, for which he had already decided to cast Tatsuya NAKADAI, Hiroyuki SANADA, and Ken OGATA among others, with music by Yosuke YAMASHITA, and he was developing the script, but the film was never realized.
Japanese: 亡くなる直前まで、最新作として山田風太郎作の『幻燈辻馬車』の映画化を構想し、配役は仲代達矢、真田広之、緒形拳ら、音楽は山下洋輔と決まり、シナリオを練っていたが、果たせなかった。
English: It is said that he was a director with craftsmanship, and he decided on the sequence of cuts in tenths of a second, before shooting.
Japanese: 技巧派の監督であり、すべてのカットをコンマ秒単位で決めた上で、撮影に臨んだといわれる。
English: He was outstanding in the Japanese film world for his sense of rhythm created by the images composed of fragmented cuts and his up-tempo tense sequences, and in this sense, he is comparable to his senior associate at TOHO, Kon ICHIKAWA.
Japanese: 細かいカット割りを積み重ねた映像のリズム感、たたみかけるテンポの良さは、東宝の先輩である市川崑と並んで日本映画でも群を抜いている。
English: However, in contrast to Ichikawa, who was good at depicting women, he specialized in movies performed by actors in leading roles, and his forte flourished in action comedies such as "Epoch of Murder Madness" (1967), influencing many young people at that time including Hayao MIYAZAKI.
Japanese: ただし、女性を描くことを得意とする市川とは対照的に、男性路線であり、その長所は『殺人狂時代(1967年の映画)』（1967年）などのアクションコメディに最大限に発揮され、宮崎駿など、当時の多くの若者に影響をあたえた。
English: He was an exceptional technician not only in the big-scale movies such as "Japan's Longest Day" and "Blood Type: Blue" (1978), which show us his impressive interpretation full of immediacy, but also in female movies such as "One Day I," which show us his fine interpretations with flowing love scenes.
Japanese: 『日本のいちばん長い日』"Japan'sLongestDay"『ブルークリスマス』"BloodType:Blue"（1978年）などの大作映画での緊迫感あふれる演出はもちろん、苦手といわれる女性映画でも『ある日わたしは』における流麗なラブシーンの演出など、無類のテクニシャンである。
English: While Ichikawa who was devoted to aestheticism and taste, was sometimes criticized as a 'director without theme,' Okamoto had advocated the opposition against war and against the Meiji Restoration as his life theme.
Japanese: また、耽美と趣味性に徹し「テーマなき作家」と批判されることのあった市川に比べ、戦争批判と明治維新批判をライフテーマとして掲げ続けた。
English: He certainly used humorous expressions in many films such as "Dixieland Daimyo," but some scenes of "Blood Type: Blue," in which riot policemen rushed into a public meeting to give severe blows to the participants, show that he was anti-authority, and it looks like a movie made by a certain baby-boomer director (the generation born after the World War II and was washed by the wave of student movement).
Japanese: もちろん「ジャズ大名」のような諧謔に託すことが多いものの、「ブルークリスマス」で集会になだれ込んで参加者を残虐に殴打する機動隊の描写など、団塊世代の演出と見紛うばかりであり、反権力の人であったことを伺わせる。
English: In addition to casting leading actors such as Toshiro MIFUNE, Tatsuya NAKADAI, Mitsuru SATO, and Keiju KOBAYASHI, for supporting roles he repeatedly picked up such male actors with colorful characters like Ichiro NAKATANI, Kunie TANAKA, Yunosuke ITO, Hideyo AMAMOTO, Shin KISHIDA, Tadao NAKAMARU, Akihiko HIRATA, Minori TERADA, Hideo SUNADUKA, Daigo KUSANO, Etsushi TAKAHASHI, Hirotaro HONDA, Shigeru KAMIYAMA, Masao IMAFUKU, Masanari NIHEI, and Ittoku KISHIDA, and they are called 'Kihachi Ikka' or 'Kihachi Family.'
Japanese: 三船敏郎、仲代達矢、佐藤允、小林桂樹らスター俳優に加え、中谷一郎、田中邦衛、伊藤雄之助、天本英世、岸田森、中丸忠雄、平田昭彦、寺田農、砂塚秀夫、草野大悟、高橋悦史、本田博太郎、神山繁、今福将雄、二瓶正也、岸部一徳ら、脇を固める個性派男優を再三起用し、彼らは「喜八一家」、「喜八ファミリー」と呼ばれた。
English: In contrast to Teruo ISHII of the same generation (he publicly declared that he hated actors from the new school of drama, and he often assuredly destroyed the flow of the film even if it was an entertaining movie), Okamoto was a director with the spirit of a true artisan and always sought refinement, dandy-ism, and well-made jobs, by using experienced actors like Eijiro TONO and Eitaro OZAWA, and other actors from Shingeki (the new school of drama), who were trained to pronounce the lines clearly.
Japanese: ベテランの東野英治郎、小沢栄太郎らも含め、台詞を明快に発音できる新劇出身の俳優を多く起用した点は、同世代の石井輝男（新劇俳優嫌いを公言し、娯楽作品でもしばしば確信犯的に破綻させた）と対照的であり、洗練とダンディ、ウェルメイドを至上とする職人監督であった。
English: Since the 1970s, he had to live a long period of time in which he was not able to shoot the films, and therefore, he had a certain aspect of unfortunate genius.
Japanese: 1970年代以降は作品を撮れない時期も長く、不遇の鬼才という側面もある。
English: However, he was one of the directors who maintained a contract with Toho to the end, even in face of Toho's drastic cut-down in production (Toho decided to reduce the number of its production to only several films a year, the level of an independent production company, and that was a complete volte-face deemed as a practical halt in production), and for a while, he was said to be the director with the highest guarantee fee in Japan.
Japanese: だが70年代に東宝が一挙に製作を縮小した際（自社製作を独立プロ並みの年間数本に減らすという事実上の製作中止に等しい大鉈であった）にも最後まで契約が続いた監督の一人でもあり、日本で最もギャラの高い監督と言われた時期もあった。
English: Compared to his rivals in the same generation, belonging to the so called modern school (Tadashi SAWASHIMA, Yasuzo MASUMURA, Ko NAKAHIRA, etc.), it can be said that he lived a considerably happy movie life in a sense.
Japanese: 同世代のモダン派として並び称されたライバルたち（沢島忠、増村保造、中平康ら）と比べると、ある意味かなり幸福な映画人生を送ったとも言える。
English: He received several movie awards, and the reevaluation of his cult-like small old pieces made while he was still alive gave him a chance to film several new movies in his final years.
Japanese: 映画賞などにもある程度めぐまれ、カルト的な小品も生前のうちに再評価が高まって晩年の新作に結びついた。
English: His films, even small pieces like the so called 'program pictures,' conserve an air of sophisticated freshness, and even nowadays, they are enjoyable as pure entertaining movies.
Japanese: いわゆるプログラムピクチャーと呼ばれるような小品でも、今日でも新鮮さが失われないスマートさがあり、純粋に娯楽作品として楽しめるのが大きな特徴である。
English: Thus, most of his films have been given the chance to be re-screened or broadcasted, and we are able to acknowledge their high quality in general.
Japanese: そのため、大部分の作品が再上映やテレビ放映の機会に恵まれ、その全体的な質の高さが確認できる。
English: In 2007, a special screening session of his films was held in Germany, in addition to the reputation gained in the Unites States (it is said that John MILIUS, a film director, among others is an enthusiast of his films), his films have began to be appraised in Europe, as well.
Japanese: 2007年にはドイツでの特集上映が行われ、これまで知られていた米国（ジョン・ミリアス監督などが熱心な信奉者と言われる）に加え、欧州での評価も高まりつつある。
English: Among the film critics, those who often review foreign movies, such as Juzaburo FUTABA, Kosei ONO, Mitsutoshi ISHIGAMI, Nobuhiko KOBAYASHI, and Takuya MORI, have published articles to celebrate Kihachi OKAMOTO for his work.
Japanese: 双葉十三郎、小野耕世、石上三登志、小林信彦、森卓也といった、どちらかというと洋画への言及が多い人々が古くから岡本喜八賛美の文章を発表してきた。