nntsuzu/KFTT huggingface dataset:
English: They were automatically moved to Toei and took major roles in the newly-formed company aiming to be 'the fourth power' in the Japanese movie industry after Shochiku, Toho, and Daiei.
Japanese: そのまま東映に移行した彼らは「第四系統」（松竹、東宝、大映に継ぐ後発映画会社の意味）として誕生した会社を担うことになる。
English: As outlined above, Toei is categorized as a company which was established after World War Two, but both its eastern and western studios took over those of Teikoku Kinema Engei Kabushiki Gaisha (Imperial Cinema Entertainment Company), Shinko, and Daiei Second (Toyoko) and as with these studios, Toei specifically focused on mass entertainment.
Japanese: 上記のように企業としては戦後派であるが、撮影所は東西ともに帝キネ→新興→大映第二（東横）を引き継いでおり、徹底して大衆娯楽路線を重視する路線なども似ている。
English: In 1957, Toei set up a studio for animated film next to Oizumi studio, Tokyo and had the former Nichido Eiga (previously Nihon Doga Eiga), whose name had changed to Toei Doga (now called Toei Animation) in the previous year, vacate the premises.
Japanese: 1957年には東京・大泉撮影所の隣に動画専用スタジオを建設し、前年に東映動画（とうえいどうが、現・東映アニメーション）と改めた旧日動映画（旧日本動画映画）を移転させた。
English: In the 1950s, Toei had many popular actors on its books, including Chiezo KATAOKA, Utaemon ICHIKAWA, Ryunosuke TSUKIGATA, Ryutaro OTOMO, Kinnosuke YOROZUYA, Chiyonosuke AZUMA and Hashizo OKAWA, and their work created a period-film boom (Toei Jidaigeki).
Japanese: 1950年代には片岡千恵蔵、市川右太衛門、月形龍之介、大友柳太朗、萬屋錦之介、東千代之介、大川橋蔵らを擁して時代劇ブームを巻き起こした（東映時代劇）。
English: From the middle of the 1950s to the beginning of the 1960s a string of famous actors and actresses of Toei modern drama, such as Shinjiro EHARA, Hitomi NAKAHARA, Ken TAKAKURA, Yoshiko SAKUMA, Tatsuo UMEMIYA, Yoshiko MITA, JJ Sonny CHIBA and Reiko OHARA, made their debut.
Japanese: 一方、東映現代劇からは1950年代半ばから1960年代前半にかけ江原真二郎、中原ひとみ、高倉健、佐久間良子、梅宮辰夫、三田佳子、JJサニー千葉、大原麗子らがデビューしている。
English: Toei reached the biggest audiences in the film industry and created Daini Toei (one year later the name was changed to New Toei) in 1960 to double its productivity and gain a 50% share of the Japanese film market.
Japanese: 観客動員No.1となった東映は1960年に第二東映（1年後にニュー東映と改称）を設立し、制作本数を倍増して日本映画界の売上50%のシェアを目指した。
English: In order to reduce costs Toei pressed ahead with a drastic downsizing of the Kyoto studio between 1963 and 1964, and most of the employees were moved to either Toei TV Productions or Toei Animation.
Japanese: コストダウンのため1963～64年にかけて、京都撮影所の大リストラを敢行し、東映テレビプロダクション、東映アニメーションへ大半の従業員が配転される。
English: In addition, the big-name actors Chiezo KATAOKA and Utaemon ICHIKAWA, who were also board members of the company, were forced to terminate their exclusivity contracts, even though they stayed on as board members, and Utaemon retired from acting.
Japanese: また取締役俳優である片岡千恵蔵、市川右太衛門の両御大の専属契約が切られ（取締役の地位は留任）、右太衛門は映画から引退。
English: Due to their very expensive contracts Toei had to let some leading period-drama directors leave including Kunio WATANABE, Sadatsugu MATSUDA and Yasushi SASAKI.
Japanese: 演出料が非常に高い渡辺邦男、松田定次、佐々木康などの時代劇の大御所監督にも辞めてもらった。
English: From 1963 Toei had great success with its Ninkyo films starring popular actors and actresses such as Koji TSURUTA, Ken TAKAKURA, and Junko FUJI (now called Sumiko FUJI and the mother of Shinobu TERASHIMA) and this led to a Yakuza-film boom (Toei chivalry films).
Japanese: 1963年から鶴田浩二、高倉健、藤純子（現・富司純子。寺島しのぶの母）らを擁してヤクザ映画ブームを作った（東映任侠映画）。
English: After 1973 docudramas starring Bunta SUGAWARA including the "Jingi Naki Tatakai" (Battles Without Honor and Humanity) Series and "Torakku Yaro" (Truck Men) Series became popular.
Japanese: 1973年以降は、菅原文太の実録物『仁義なき戦い』シリーズ、『トラック野郎』シリーズが人気を呼んだ。
English: In 1954 Toei accepted management of a professional baseball team, the Tokyu Flyers (now called Hokkaido Nippon-Ham Fighters), from Tokyu Corporation and changed its name to Toei Flyers.
Japanese: この間、1954年にはプロ野球・東急フライヤーズ（現北海道日本ハムファイターズ）の運営を東京急行電鉄から受託し、東映フライヤーズとした。
English: Additionally, Toei took the initiative at the beginning of the coming TV era: it made an investment in Nihon Educational Television (now called TV Asahi Corporation) to start broadcasting in 1959 and became a major source of programs for the TV station.
Japanese: また、1959年開局の日本教育テレビ（現在のテレビ朝日）に資本参加し同局番組の有力な供給源となるなど、来るべきテレビ時代に先手を打った。
English: It is said that there was a feud between Hiroshi OKAWA of Toei and Noboru GOTO of Tokyu Corporation behind the separation: although Okawa was reluctantly dispatched to Toei and became the president, which operated on a shoestring with multiple debts, and managed to succeed in its reconstruction, Goto was focused on development of areas along the railways for both Tokyu itself and the Group as a whole.
Japanese: この背景には嫌々ながら東映の社長に派遣され、多重債務を抱え自転車操業で倒産寸前だった同社の再建を成功させた大川博と、東急本体を引き継ぎ東急グループの基本を沿線開発に据えた五島昇との間に確執があったと言われている。
English: After the film industry experienced a marked decline from the middle of 1960s, Shigeru OKADA, who became the second president of Toei in 1971, tried to attract audiences with yakuza films and oversaw the production of jitsuroku-ninkyo films and films with sexual or violent content targeting people who didn't watch TV.
Japanese: 1960年代半ばから映画の斜陽化が顕著になると、ヤクザ映画で観客動員を保つ一方で、1971年二代目社長に就任した岡田茂は、テレビに取り込まれない客層を狙い実録任侠ものやエログロものを量産。
English: Moreover, following a decline in the popularity of period dramas in 1975 Toei established Kyoto Uzumasa Eigamura (Toei Movie Land) by relocating a part of the open set of Toei Movie Studios.
Japanese: また時代劇が斜陽になったことから1975年に京都撮影所のオープンセットの維持を画して、一部を東映太秦映画村とした。
English: During the off season in 1972 Toei and Tokyu sold the Toei Flyers to Nittaku Home Corporation because of the poor performance of the baseball team and the fact that the "Kuroi Kiri Incident," a game-fixing scandal in professional baseball at that time, made it difficult for the team to attract large audiences.
Japanese: 成績不振と黒い霧事件(日本プロ野球)の余波で観客数が伸び悩んでいた東映フライヤーズを東急と共に1972年オフに日拓ホームに売却。
English: On the other hand, Toei tried to promote further restructuring through new business development such as hotels, real estate, and the alteration of a studio's redundant areas into multiple-use facilities.
Japanese: その一方で、シティホテルや不動産分譲、撮影所余剰地の複合施設開発など新規事業を開拓して事業の再構築を行った。
English: In the main video-content business, to make up for the slowdown in Japanese films Toei created a distribution section for foreign films, though it was in fact limited to films from Hong Kong.
Japanese: 本業の映像部門でも、香港映画限定ながら洋画配給部門を新設し邦画部門の不振を補った。
English: Outside the cinema it has also contributed actively to the production of TV films, and since 1989 it has increased the amount of film releases with a series of original videos called "V cinema."
Japanese: また、劇場用映画以外にテレビ映画の制作にも積極的に取り組み、1989年からは東映Vシネマというオリジナルビデオをリリースすることで映画の制作数を補うなど、スクリーン以外での映像展開を積極的に進めて対応を図っている。
English: According to a book written by Sadao NAKAJIMA, graduates of universities other than Tokyo University, Waseda University, Keio University, and Nihon University College of Art, and of Kyoto University or Doshisha University for the Kyoto Studios, were not recruited unless they had strong personal connections.
Japanese: 中島貞夫の著書によると東京大学、早稲田大学、慶應義塾大学、日本大学芸術学部、京都撮影所枠で京都大学、同志社大学以外の学生は採用に至ることは縁故以外ではなかったという。
English: In recent years, however, this tendency has gradually changed and more and more graduates of universities or vocational schools other than those listed above are able to enter the company.
Japanese: しかしながら、近年、この傾向は弱くなりつつあり、上記の大学卒以外や専門学校卒からの採用も多くなってきている。
English: Indeed, two of Toei's most successful directors who strengthened the company, Noribumi SUZUKI and Ikuo SEKIMOTO, dropped out from studies at Ritsumeikan University and didn't attend higher education respectively.
Japanese: また、一時期エース監督として屋台骨を支えた鈴木則文、関本郁夫はそれぞれ立命館大学中退、工業高校卒である。
English: Unlike at Toei, employees of other major film companies could rarely work as a director without a university qualification.
Japanese: このように他の大手で戦後に大卒でない採用社員を監督として活躍させた例はほとんど無い。
English: In addition, Teruo ISHII, who was not originally hired by Toei but transferred from Shintoho before becoming a hit maker in the 1960s, left education after graduating from junior high school under the old system of education, while Kinji FUKASAKU, one of the best directors of the 1970s, was from Nihon University College of Art but belonged to Department of Literature rather than the Department of Cinema.
Japanese: また、東映採用ではないが新東宝から移籍し60年代東映きってのヒットメーカーとなった石井輝男は旧制中学卒であり、70年代のエース深作欣二は日大芸術学部ではあるが映画学科ではなく文芸学科の卒業。
English: It can be said that the recruitment process for studio staff seems to prioritise ability over academic clique.
Japanese: 少なくとも撮影所には採用人事の学閥重視を一蹴するような実力主義が見られる。
English: Toei has continued a style of patrimonial management exemplified by Okawa and his son, followed by Okada and his son taking the helm of the company; they were originally employed as salaried executives but later became actual owners of the company.
Japanese: 大川親子、岡田親子ともに最初はサラリーマン的立場であった幹部が実質上の世襲オーナー化する例が続いている。
English: Under such strong leadership Toei has kept the most distinctive characteristics of its production.
Japanese: その強烈な指揮権によってもっとも製作カラーの鮮明な映画会社であり続けている。
English: Toei did not embrace the trend of the movie theater being a fancy date spot, and as a consequence was left far behind its rival company, Toho.
Japanese: おしゃれなデートコースとしての映画館という風潮とは対極に位置することもあり、ライバルであった東宝には大きく水をあけられた。
English: However, unlike Toho which practically stopped in-house production, Toei has long engaged in original work including TV programs and animation, and it is seen as having great potential to become one of the largest video-content companies in the world.
Japanese: しかし、早々に自社製作を事実上中止した同社とは対照的にTV、アニメを含め徹底した自社製作を貫いてきた歴史が長く、世界最大級の映像コンテンツ企業としてポテンシャルが注目を浴びている。
English: With regards to production policy, both Toei and its affiliates basically prioritize quantity over quality; projects are carried out without detailed examination of their feasibility, along the lines of the proverb 'He that oft shoots at last shall hit the mark.'
Japanese: 系列会社にも当てはまるが、東映の作品は基本的に中身より量をメインとしており、「数打てば当たる」のごとく企画などは常に見切り発車の状態で実行されている。
English: Toei's strategy is to make the biggest possible profit from a smaller budget than those of rivals Toho and Shochiku, and this translated into success at the box office from the 1950s to the 1970s.
Japanese: 東宝や松竹よりも低予算で最大限の効果を得ることを旨とし、実際に50年代から70年代にかけて興行成績において勝利している。
English: When Akira KUROSAWA made the Japan-US joint production 'Tora! Tora! Tora!' he used the Toei Kyoto Movie Studio for the first time, but on the first day of filming he got angry at the fact that one of the curtains on the set had a crease in it and immediately ceased production; the conflict between Kurosawa and the staff of the studio is said to be one of the reasons he abandoned the movie halfway through.
Japanese: 黒澤明は、日米合作「トラ!トラ!トラ!」の撮影に際して初めて東映京都撮影所を使用し、そのスタッフとの軋轢が降板の一因となったと言われるが、初日にセットのカーテンの折り皺に激怒し即撮影中止となったエピソードが伝えられている。
English: This anecdote illustrates Toei's culture at that time which was at odds with the perfectionist nature of Kurosawa, because Toei's top priority was mass-production; this was quite different from rival Toho where the curtains were always sprayed and made smooth without any specific instruction even a few days before filming.
Japanese: 東宝では指示がなくても数日前から霧吹きして伸ばしておくのが常識だったと言われるが、撮影所間の勢質の違いと量産体制に徹するあまり完全主義の黒澤に合わせることができなかった当時の社風を伝えている。
English: The driving force for the constant production of films in a variety of genres was the profit-oriented business philosophy during the leadership of company president Shigeru OKADA.
Japanese: 数多くの作品をコンスタントに生み出す原動力となったのは、岡田茂体勢で確立した利益優先主義による作品の多ジャンル化である。
English: The top priorities in regard to the production of TV programs were audience ratings and the procurement of funds for film production rather than the particular framework for a program, therefore, it was often the case that their development was affected by these priorities.
Japanese: またテレビ作品においては骨格作りよりも視聴率や映画製作資金の獲得を最優先しており、その状況次第で作品の傾向を変えることが多い。
English: Once the films or TV programs became successful, they were made into series, most of which continued for ten to twenty years.
Japanese: 映画・テレビ作品とも当たった作品はすぐにシリーズ化され、そのほとんど10年ないし20年は続く長期シリーズとなっている。
English: Examples of these include 'Abashiri Banngai-chi,' 'Jingi Naki Tatakai,' (Battles Without Honor and Humanity) 'Kamen Raida,' (Masked Rider) 'Abarenbo Shogun' and 'Hagure Keiji Juunjoha.'
Japanese: （「網走番外地」、「仁義なき戦い」、「仮面ライダー」、「暴れん坊将軍」、「はぐれ刑事純情派」など）。
English: Nowadays, the number of producers who focus on the structure and content of their work has increased and many of them have absolute power over program production.
Japanese: また近年では構成派のプロデューサーが多く、作品の製作において絶対的権限を示す者も少なくない。
English: Also, after finishing Toei's special-effects productions, many of the regular performers are asked to appear in the general films and TV programs of the company.
Japanese: また自社特撮作品のレギュラー出演者が終了後に自社の映画・一般向けテレビ作品に複数で招かれるケースも多い。
English: The opening credits of Toei films where wild waves batter three rocks out of which the Toei triangular logo emerges are very famous in Japan, and they have been parodied in many animated video games and variety TV programs.
Japanese: 東映映画のオープニングといえば3つの岩に荒波が打ち付け、三角形のロゴマークが飛びだすシーンが有名で、アニメ・ゲームやバラエティでしばしばパロディにされる事もある。
English: During the heyday of Toei's yakuza films in 1970s, despite the company making enormous box-office profits it was reluctant to pay its staff and performers well and forced them to accept difficult commissions.
Japanese: ちなみに1970年代のヤクザ映画全盛期には、莫大な興行収入を得ながらもスタッフやキャストへの金払いが悪かった事、強引なブッキングを強いた事などがあった。
English: Because of these attitudes, Toei was criticized and it was said that the Toei sankaku (triangle) represents "san-kaku" (three deficiencies): giri-kaku (deficiency in the sense of duty), haji-kaku (deficiency in shame), and ninjo-kaku (deficiency in humaneness).
Japanese: それらのことから、「東映の三角マークは義理欠く恥欠く人情欠くの三欠くだ」と揶揄された。
English: The three rocks really represent the integration and solidarity of the predecessors of Toei: Tokyo Eiga Haikyu (Tokyo Film Distribution Company), Oizumi Films, and Toyoko Film Company.
Japanese: 3つの岩は、東映の前身である東京映画配給、太泉映画、東横映画の3社の統合と結束をイメージしている。
English: In the current version an image created by computer graphics appears first, then suddenly changes into the well-known scene of the rocks being splashed by the wild waves.
Japanese: 現在のオープニングは、CG加工された画面が現れた後、一転して波飛沫が岩にかかるおなじみのシーンに変わる。
English: You can see the logo even from the beginning of the opening, as it does not pop out between the rocks anymore as in the previous version.
Japanese: そこにはすでにロゴマークがあり、かつてのように岩の合間から飛びだしてこない。
English: In Haiyu-Kaikan Hall at the Kyoto studio, it is said that only major stars are permitted to occupy rooms exclusively; the current members of such a privileged class are Kotaro SATOMI, Kinya KITAOJI, Hiroki MATSUKATA and some others, however, Ken TAKAKURA is the only person to have never used the room even though his name plate remains on the door of his room.
Japanese: 京都の撮影所の俳優会館には大物俳優のみが個室を持つ事が許されるとされ、里見浩太朗、北大路欣也、松方弘樹他数名が現在占有しているとされているが、たった一人だけ来ないのに名札の掛かっているのは高倉健であるという。
English: When Toshiro MIFUNE, Shin SABURI, and Chiezo KATAOKA performed together in the same scene of the yakuza film 'Nihon no Don,' they greeted each other in the following fashion: first, Mifune (born in 1920 and who made his debut after the Second World War) said hello deferentially to the two seniors, then Saburi (born in 1909 and debuting in 1931) introduced himself to Kataoka with the words 'I'm Saburi, sir,' and lastly Kataoka (born in 1903 and debuting in 1927) said to the two juniors, 'Hello, guys.'
Japanese: なお「日本の首領」で三船敏郎、佐分利信、片岡千恵蔵が同じ場面で競演した際には、挨拶の順は1)三船（1920生、戦後デビュー）が二人に挨拶し、2)次に佐分利（1909生、1931デビュー）が片岡に「佐分利でございます」と挨拶して3)最後に千恵蔵（1903生、1927デビュー）が「おう」と返事を済ませて大物同士の挨拶が済んだとされる。
English: Such operations started in 1958 when the first Japanese TV film appeared, and in its prime Toei produced as many as thirty regular programs a year.
Japanese: すでに国産初のテレビ映画が登場した1958年から始まっており、全盛期では年に30本ものレギュラー番組を輩出したこともあった。
English: The production system was shared by three studios: Toei Kyoto TV Productions, which produced period and early-modern dramas and contemporary dramas featuring Kyoto settings, Toei Tokyo Productions located in Ikuta, and Toei TV Productions located in Oizumi, and the studios competed with each other in order to continue mass-producing the programs.
Japanese: その製作体制は三つの撮影所に分けられており、まず時代劇や近代もの、京都が舞台の現代劇を作っている東映京都テレビプロ、生田に構えていた東映東京製作所、大泉に設けた東映テレビプロがそれぞれ凌ぎを削りながら作品の量産を続けた。
English: Although in the first few years they made programs only for their biggest shareholder, NET (now called TV Asahi), they soon made use of opportunities to conclude wide-ranging contracts with other TV stations.
Japanese: 初期数年は筆頭株主として出資していたNET（現テレビ朝日）専門の制作であったが、すぐに他局とも幅広く契約。
English: Even so, Toru HIRAYAMA, a producer in charge of character series at that time, later looked back and commented in the magazine 'Uchusen' that by the middle of the 1960s Toei was regarded as an NET-affiliated production company within the industry.
Japanese: それでも60年代半ばまでは業界的にはNET系のプロダクションと見られていたと、キャラクター作品担当のプロデューサーだった平山亨は後日雑誌「宇宙船」で回顧している。
English: In addition, one episode from a children's TV program or a new film is incorporated in the 'Toei Manga Festival,' a seasonal program aimed at children played at movie theaters within Japan.
Japanese: また子供向け作品においては季ごとにプログラムピクチャーとして映画館で上映される「東映まんがまつり」にテレビからのエピソード一本または新作映画としてエントリーされた。
English: Ashio Mining Pollution was a pollution incident which occurred at Ashio copper mine located around Watarase-gawa River in Tochigi Prefecture and Gunma Prefecture at the end of the 19th and the beginning of the 20th century.
Japanese: 足尾鉱毒事件（あしおこうどくじけん）は、19世紀から20世紀の栃木県、群馬県の渡良瀬川周辺で起きた足尾銅山の公害事件。
English: In the present Ashio district, Nikko City, Tochigi Prefecture, copper mines had been mined since the Edo period; after reaching its peak in the early Edo period, the output kept declining, and by the end of the Edo period, the mines were almost abandoned and nationalized.
Japanese: 現在の栃木県日光市足尾地区では江戸時代から銅が産出していたが、江戸時代前期をピークとして産出量はいったん低下し、幕末にはほとんど廃山の状態となって国有化された。
English: After the Meiji Restoration, the mines were sold to private management and run by Ichibei FURUKAWA from 1877.
Japanese: 明治維新後、民間に払い下げられ、1877年に古河市兵衛の経営となる。
English: Furukawa promoted the modernization of mining operations, and rich deposits were discovered by 1885.
Japanese: 古河は採鉱事業の近代化を進めたが、1885年までに大鉱脈が発見された。
English: As a result of the introduction of Western modern mining technology, Ashio copper mine became Japan's largest copper producer and became the largest in East Asia which produced thousands of tons annually.
Japanese: さらに西欧の近代鉱山技術を導入した結果、足尾銅山は日本最大の鉱山となり、年間生産量数千トンをかぞえる東アジア一の銅の産地となる。
English: At that time, copper was one of Japan's major exports with 1/4 of the national output coming from Ashio copper mine.
Japanese: 当時銅は日本の主要輸出品のひとつであり、全国の産出量の1/4は足尾銅山が占めていた。
English: Ironically the smoke from the refining process, mineral poison gas generated during purification (mainly sulphur dioxide) and mineral poison contained in the waste water (mainly metal ions such as copper ions) caused great environmental damage.
Japanese: しかし精錬時の燃料による排煙や、精製時に発生する鉱毒ガス（主成分は二酸化硫黄）、排水に含まれる鉱毒（主成分は銅イオンなどの金属イオン）は、付近の環境に多大な被害をもたらすこととなる。
English: The mountains in the then Ashio-machi area became barren because of the mineral poison gas and the acid rain caused by it.
Japanese: 鉱毒ガスやそれによる酸性雨により足尾町（当時）近辺の山は禿山となった。
English: This has caused Watarase-gawa River to have a raised bed near Ashikaga City and brought devastation to the forests in Ashio, and when hit by Typhoon Kathleen, it became the major cause of the flood.
Japanese: このため、渡良瀬川は足利市付近で天井川となり、足尾の山林の荒廃とともにカスリーン台風襲来時は洪水の主原因となった。
English: The symptom of the mining pollution appeared first as a large number of ayu (sweetfish) died in Watarase-gawa River in 1885.
Japanese: 鉱毒による被害はまず、1885年、渡良瀬川の鮎の大量死という形で現れた。
English: However, at that time the cause was unclear; and in Choya Shinbun, the newspaper that first reported the incident on August 12, reported ambiguously that Ashio copper mine may have caused it.
Japanese: ただし、当時は原因が分かっておらず、これを8月12日に最初に報じた朝野新聞も、足尾銅山が原因かもしれないというような、あいまいな書き方をしている。
English: On October 31 of the same year, Shimotsuke Shinbun (newspaper) reported that trees in Ashio area had been dying since about the previous year; and those two articles are considered to have been the first reports linking the Ashio copper mine and the pollution.
Japanese: 同年10月31日、下野新聞が前年ごろから足尾の木が枯れ始めていることを報じ、これら2つが足尾銅山と公害を結びつける最初期の報道と考えられる。
English: The next damage appeared as rice crops died in the fields that had been drawing water from Watarase-gawa River and in the fields where earth and sand from Ashio had accumulated after the flood.
Japanese: 次に、渡良瀬川から取水する田園や、洪水後、足尾から流れた土砂が堆積した田園で、稲が立ち枯れるという被害が続出した。
English: This mining pollution not only affected Watarase-gawa River Basin but also spread across the Gyotoku area through Edo-gawa River and across the Kasumigaura area through Tone-gawa River.
Japanese: なお、この鉱毒被害の範囲は渡良瀬川流域だけにとどまらず、江戸川を経由し行徳方面、利根川を経由し霞ヶ浦方面まで拡大した。
English: Especially heavy damages to the fields were caused by the four major floods which struck on August of 1890, on July 21 and August 17 and September 8 of 1896.
Japanese: 田畑への被害は、特に1890年8月と1896年7月21日、8月17日、9月8日の4度の大洪水で顕著となった。
English: According to the survey by Yoshinao KOZAI and others in 1892, the main mineral poison consisted of compounds of copper, iron oxide and sulfuric acid.
Japanese: 1892年の古在由直らによる調査結果によれば、鉱毒の主成分は銅の化合物、亜酸化鉄、硫酸。
English: In addition, Kuzo Village and Nitamoto Village adjacent to Matsuki Village were abandoned about the same time.
Japanese: このほか、松木村に隣接する久蔵村、仁田元村もこれに前後して同様に廃村となった。
English: After the construction, detailed below, of measures between 1897 and 1927 were carried out, prominent damages by the mining pollution were reduced.
Japanese: 対策の節で述べる工事が1897年から1927年にかけて行われると、表だった鉱毒被害は減少した。
English: It is said that unlike other areas, Morita Village (present Morita, Ota City), Yamada County, Gunma Prefecture and its surroundings, where the water for fields had been drawn directly from Watarase-gawa River, had an increase in damage by the mining pollution after the Taisho period.
Japanese: 他の地域と異なり、渡良瀬川から直接農業用水を取水していた群馬県山田郡(群馬県)毛里田村（現太田市毛里田）とその周辺では、大正期以降、逆に鉱毒被害が増加したと言われる。
English: In 1971 shipments from Morita were suspended as cadmium had been detected in rice harvested there.
Japanese: 1971年には毛里田で収穫された米からカドミウムが検出され出荷が停止された。
English: However, the ore refinery operations continued until 1980, and the mineral poison kept pouring into the rivers thereafter.
Japanese: ただし、精錬所の操業は1980年代まで続き、鉱毒はその後も流されたとされる。
English: It is explained that because from 1989 JR Ashio Line no longer carried cargo and the imports of the raw material ore were reduced, the mining pollution was decreased.
Japanese: 1989年にJR足尾線で貨物が廃止になると、原料鉱石の搬入量が減少し、鉱毒はさらに減少したとされる。
English: However, because very little scientific analysis has been carried out in any period, the real conditions of the pollution cannot be explained.
Japanese: しかし、どの時代も科学的な分析がほとんどされていないため、公害の内容はあまり明らかにはなっていない。
English: There is one thing clear about the amount of the mineral poison; according to the measurement facility that the Environment Agency had established in 1972 in Ashio-machi, the levels of the concentration of sulfur dioxide exceeded the (old) environmental standards.
Japanese: 明確に分かっている鉱毒の量は、1972年度、環境庁が足尾町に設置した測定局における二酸化硫黄（亜硫酸ガス）濃度が、旧環境基準に適合していなかった。
English: Although Ashio-machi had one measurement facility, the concentration measured by the facility was above the pollution standard; and in the same year, Ashio-machi was only one town which all the concentrations measured by facilities of one town were above the standard (however, it is not specified in the environmental white paper of the year that it was a damage by mining pollution).
Japanese: 足尾町内1局の測定局のうち、1局が不適合で、都市内全測定局の値が不適合となったのは、測定局のある都市の中では、この年度、足尾町のみである（ただし当時の環境白書は、鉱毒被害とは明示していない）。
English: On September 7, 1981, twice the standard level of copper and three times the value of the agreement level of copper was detected from wastewater discharged from the Nakasai water treatment plant in Ashio-machi.
Japanese: 1981年9月7日に足尾町の中才浄水場から排出された排水から、基準値の2倍、協定値の3倍の銅が検出されたというものがある。
English: In addition, there remain other records measured by Morita-mura mining pollution eradication association.
Japanese: このほか、毛里田村鉱毒根絶期成同盟会などが独自に測定した値などがある。
English: According to the record by the office of mining pollution of Gunma and Tochigi prefectures in 1899, deaths and stillbirths due to the mining pollution were estimated to be 1064.
Japanese: 1899年の群馬栃木両県鉱毒事務所によると、鉱毒による死者・死産は推計で1064人。