nntsuzu/KFTT huggingface dataset:
English: In June 1924, half a year after its establishment, the company purchased Shozo MAKINO's 'Makino Film Productions' in Kyoto.
Japanese: 設立の半年後の1924年（大正13年）6月、京都の牧野省三の「マキノ映画製作所」を吸収合併した。
English: "Makino Tojiin Studio" was renamed "Toa Kinema Tojiin Studio," and Makino was appointed to the head of both Koyo Studio and Tojin Studio.
Japanese: 「マキノ等持院撮影所」を「東亜キネマ等持院撮影所」と改称、牧野を甲陽・等持院の両撮影所の所長に任命した。
English: Since then, the company has produced a lot of modern films as well as historical ones under a dual-production system in which both studios were used.
Japanese: 以降、両撮のデュアル・プロダクション体制で、現代劇および時代劇を量産した。
English: As conflicts occurred between Toa group and former Makino group inside the historical films department of 'Tojiin Studio,' the studio was renamed "Toa Makino Tojiin Studio "in January 1925.
Japanese: 「等持院撮影所」の時代劇部の内部で東亜派と旧マキノ派が対立、1925年1月、同撮影所を「東亜マキノ等持院撮影所」と改称。
English: Makino remained as the head of studio while Mikito YAMANE, who was then 31 years old, was appointed to the deputy head, but the studio was burnt down by an accidental fire in March of the same year.
Japanese: 牧野がひきつづき所長、31歳の山根幹人を所長代理にしてリスタートするも、同年3月には失火により焼失。
English: In June of the year, Makino became independent from Toa Kinema, established 'Makino Production' and established 'Omuro Studio.'
Japanese: 同年6月、牧野省三は東亜キネマから独立し、「マキノ・プロダクション」を設立、「御室撮影所」を設立する。
English: Yamane also joined Makino group, and in Tokyo, ToyojiroTAKAMATSU established 'Takamatsu Azuma Production' in concert with Makino's movement and it became 'Makino Tokyo group.'
Japanese: 山根もマキノ派に合流、東京では牧野の動きに呼応して、高松豊次郎が「タカマツ・アズマプロダクション」を設立、「マキノ東京派」を構成した。
English: After Makino left, 'Tojiin Studio' was renamed "Toa Kinema Kyoto Studio" and Masato OZASA, the manager of advertisement department of parent company Yachiyo Insurance, became the head of studio.
Japanese: マキノ派去りしのちの「等持院撮影所」は「東亜キネマ京都撮影所」と改称、所長には同社の親会社・八千代生命の宣伝部長である小笹正人が就任した。
English: In 1927, two years after Makino group left the company, Toa Kinema closed 'Koyo Studio' and concentrated its film production business at 'Toa Kinema Kyoto Studio.'
Japanese: マキノ派分離の2年後の1927年（昭和2年）、東亜キネマは「甲陽撮影所」を閉鎖、等持院の「東亜キネマ京都撮影所」に製作事業の拠点を一元化した。
English: In march 1929, Ozasa resigned from the company and parent company Yachiyo Insurance withdrew from film production business because it failed in publishing business and went to ruin.
Japanese: 1929年（昭和4年）3月、小笹が同社を退社、出版事業等にも手を出して没落した親会社・八千代生命が映画製作事業から撤退する。
English: Thereafter, Masatsugu TAKAMURA, the husband of Makino's oldest daughter, became the head of Kyoto Studio and started to revive the business.
Japanese: その後、牧野の長女の夫・高村正次が京都撮影所長に就任し、事業の立て直しを図った。
English: In 1930, the company entered into a capital alliance with 'Takarazuka Eiga' which was established by Ichizo KOBAYASHI of Hankyu Railway.
Japanese: 1930年（昭和5年）に阪急電鉄の小林一三が設立した「宝塚映画」に働きかけ、資金面での提携を図った。
English: In September 1931, 'Tokatsu Eigasha' was established as a company which was supposed to produce films on the company's behalf.
Japanese: 1931年（昭和6年）9月、同社の製作代行をする会社として「東活映画社」が設立される。
English: Takamura established 'Taishu Bungei Eigasha' and 'Shoei Makino' with the help of Sanjugo NAOKI, a novelist and film producer.
Japanese: 高村は小説家・映画プロデューサーの直木三十五の協力を得て「大衆文芸映画社」、「正映マキノ」を設立してゆく。
English: In October 1932, Tokatsu Eigasha was dissolved only one year after its establishment, and Toa Kinema finally gave up to continue film production business and closed 'Tojiin Studio.'
Japanese: 翌1932年（昭和7年）10月、わずか1年で東活映画社が解散し、東亜キネマは製作事業をついに断念、「等持院撮影所」を閉鎖する。
English: In November of the year, Takamura of 'Shoei Makino' again purchased Toa Kinema and established Takarazuka Kinema at 'Omuro Studio.'
Japanese: 同年11月、「正映マキノ」の高村が再度登場し東亜キネマを買収、「御室撮影所」に宝塚キネマを設立する。
English: Tojiin Studio' was sold at auction and the site became a residential district in May 1933.
Japanese: 「等持院撮影所」は競売に付され、翌1933年（昭和8年）5月には住宅地となった。
English: It is also called the Shimogakari Hosho school ('Shimohosho,' 'Shimoho' or 'Wakiho' for short) to differentiate from the Shite-kata (main roles) Hosho school.
Japanese: シテ方宝生流と区別して下掛宝生流（略して「下宝生」「下宝」または「ワキ宝」）とも呼ぶ。
English: The school is founded by branching off from the Shundo school (Konparu-school zatsuki [working in the theater]), as a part of favorable treatment to the Hosho school by Tsunayoshi TOKUGAWA.
Japanese: 徳川綱吉による宝生流優遇策の一環として、春藤流（金春流座付）より出て一家を成した。
English: Therefore the Hosho school still leaves a performance style of shimogakari that has an influence of the Konparu school, though the Hosho school is a zatsuki of kamigakari Shite-kata.
Japanese: このため上掛のシテ方の座付でありながら、金春流の影響を受けた下掛の芸風を残している。
English: Directly after the Meiji Restoration, when protection of Daimyo family (feudal lord family) was lost, the school was in hard straits like other Waki-kata.
Japanese: 大名家の庇護を失った明治維新直後には、他のワキ方の例に漏れずきわめて困窮した。
English: His son Arata HOSHO (the tenth familyhead), Arata's son-in-law Yaichi HOSHO and Shigeyoshi MORI were actively involved as master dancers.
Japanese: 子の宝生新（十世宗家）、女婿宝生弥一・森茂好らが名手として活躍した。
English: Also the school had support from an intellectuals from the Iyo-Matsuyama Domain (such as Nobuyoshi IKENOUCHI and Kyoshi TAKAHAMA), who had strong foundation as Su-utai (Noh lyrics without music) instructor since the Edo period.
Japanese: また江戸時代から素謡教授として強固な基盤を持っていた伊予松山藩出身の知識人たち（池内信嘉・高浜虚子）の後援があった。
English: Moreover, such reasons led to the Hosho school monopolizing Waki of En-noh, in Tokyo.
Japanese: さらには右のような理由から東京における演能のワキを独占するかたちになった。
English: These circumstances enabled the school to maintain strong influence on Waki-kata in present days.
Japanese: これらの事情もあって、現在にいたるまでワキ方につよい勢力を維持するに至っている。
English: The school is known for practicing Su-utai instruction enthusiastically, and the fact was reflected on literatus, such as Kyoshi TAKAHAMA, Hekigoto KAWAHIGASHI and Soseki NATSUME, being fond of the school.
Japanese: 高浜虚子・河東碧梧桐のほか、夏目漱石などの文人がたしなんだことからもわかるように、素謡教授を熱心に行うことで知られる。
English: The distinction of the performance style is that it has little shimogakari like antique feel but focuses more on Waki like prosaic expression.
Japanese: 芸風は下掛らしい古風さをあまり感じさせず、ワキらしい散文的な表現の傾向を特に強調するところに特色がある。
English: Makino Talkie Seisaku-jo (established in November 1935, liquidated in April 1937) was a film company that once existed in Kyoto.
Japanese: マキノトーキー製作所（-せいさくしょ、1935年11月設立-1937年4月解散）は、かつて京都に存在した映画会社である。
English: It was a production company of talkie movies in early times established by Masahiro MAKINO, who was then 27-year-old film director in order to produce talkie films with a recorder developed by himself.
Japanese: 当時27歳の映画監督マキノ雅弘が、自ら開発した録音機材を投入して設立した初期のトーキー映画のプロダクションである。
English: It became Makino Talkie Co., Ltd. in September 1936, but its life was short.
Japanese: 1936年9月に組織変更しマキノトーキー株式会社となったが、短命に終わった。
English: Makino's father Shozo MAKINO was engaged in the production of talkie films earlier on, and "Modoribashi" (directed by Masahiro MAKINO), a disk-type talkie film produced by Makino Production in 1929, became a nationwide hit.
Japanese: マキノの父・牧野省三は早くからトーキーに取り組んでおり、マキノ・プロダクション時代の1929年（昭和4年）にはディスク式トーキー作品『戻橋』（監督マキノ正博）を製作、全国的なヒットを生んだ。
English: At movie theaters, however, projectionists faced a difficulty in synchronizing and a lot of complaints were made.
Japanese: しかし、興行の現場では映写技師がシンクロに苦労し、苦情が殺到していた。
English: In 1931, Shochiku released "Madam to Nyobo" (directed by Heinosuke GOSHO), which is regarded as 'the nation's first talkie film.'
Japanese: 1931年（昭和6年）に松竹が「国産初のトーキー映画」とされる『マダムと女房』（監督五所平之助）を発表。
English: From 1932, Shochiku, Nikkatsu, Tsukigata Yoko Production, Kataoka Chiezo Production, Shinko Kinema, Shin Eigasha and Onei began to produce all-talkie films, part-talkie films which incorporated talkie part into silent films and sound films which incorporated music and katsuben (silent film narration) into silent films.
Japanese: 翌1932年（昭和7年）から松竹、日活、月形陽候プロダクション、片岡千恵蔵プロダクション、新興キネマ、新映画社、音映の各社が数本ずつのオール・トーキー、サイレント映画にトーキー部分を織り込んだパート・トーキー、サイレントに音楽や活弁を収録したサウンド版を製作しはじめた。
English: Masahiro MAKINO was dismissed by Nikkatsu in 1933 because of the feud with Einosuke YOKOTA, which had lasted since the time of his late father Shozo.
Japanese: 1933年（昭和8年）、マキノ正博は、亡くなった父・省三の代からの横田永之助との確執から日活を馘首された。
English: Makino who believed in the arrival of the era of talkie went to Tokyo with a half of his retirement allowance 2000 yen (at the time) in pockets.
Japanese: これからはトーキーだと確信していたマキノは、退職金の2,000円（当時）の半分を握って上京した。
English: He concentrated together with his colleagues in the research and development of recorders and cinema cameras at Onei, which was located in Kagurazaka, Ushigome Ward (current Kagurazaka, Shinjuku Ward) and was led by Shinichi OTA of Nihon Kokusuikai.
Japanese: 日本国粋会の太田進一率いる牛込区神楽坂（現在の新宿区神楽坂）の音映で、同社の技術スタッフたちとともに録音・撮影機材の研究・開発に没頭した。
English: After developing new machines, Makino established Kyoto branch of Onei, worked for other companies as a recording engineer and devoted himself to the study of recording technology.
Japanese: 新機材を開発したマキノは、音映の京都支社を新設して、録音技師として各社の下請けをし、録音技術の研鑽を積んだ。
English: In 1935, Masao MUNETA, a senior managing director of Chidori Kogyo in Kobe City, visited Kyoto to see Makino and expressed his intention to invest in the production and distribution of 'two talkie films a month, two sound films a month and annual aggregate of 48 films.'
Japanese: 1935年（昭和10年）、神戸市の千鳥興業の専務取締役宗田政雄が京都のマキノを訪れ、「月間トーキー2本、サウンド版2本、年間48プログラム」の生産ペースを前提に、配給と製作費の出資をする旨の申し入れをした。
English: He also requested to start filming from November since he wanted to show the first film from the middle of December.
Japanese: ついては12月中旬から第1作を公開したいので、11月からクランクインしてほしいということだった。
English: After racking out his brain over the proposal, Makino finally made up his mind to establish a new company since Suesaburo SASAI encouraged him by providing a land for studio.
Japanese: この申し入れに、マキノは考え込んだが、笹井末三郎が撮影所用地を調達して励まし、マキノはついに新会社設立の決意をした。
English: The first film was a talkie film "Edo Banashi Nezumi Kozo" staring Kunitaro SAWAMURA and Komako HARA and it was directed by Makino.
Japanese: 第1回作品は澤村國太郎と原駒子の主演、マキノ監督によるトーキー映画『江戸噺鼠小僧』であった。
English: It was filmed at Shinko Kinema Kyoto Studio since the new studio was under construction, and it was released on December 18 of the year.
Japanese: 撮影所が建設中のため、新興キネマ京都撮影所のステージを借りて撮影を行ない、同年12月18日に公開された。
English: Makino Talkie Studio was established in Uzumasa Katabiranotsuji Nakahiraki-cho (current Uzumasa Horinouchi-cho, Ukyo Ward) at the end of December.
Japanese: 同年12月末、太秦帷子ヶ辻中開町（現在の右京区太秦堀ヶ内町）にマキノトーキー撮影所が開設となった。
English: At the end of the month, only one month after the establishment of the studio, the company had already produced nine films and had started to produce another four films.
Japanese: 撮影所が開所してわずか1か月の同月末、すでに通算9本を完成、4本の映画にとりかかっていた。
English: The company rented Tsukigata in April of the year in response to the request of Nobuyoshi MORITA, a producer who had been transferred from Shinko Kinema to Toho, but he never returned to the company.
Japanese: しかし、新興キネマから東宝へ移籍した森田信義プロデューサーからの要請で、同年4月に月形を東宝にレンタルしたところ、帰ってこなかった。
English: Around that time, the company allowed, on referral from Hirotaka HAYASHI of Yoshimoto Kogyo, Kazuo TAKIMURA of Toho to enter the studio for a few days under the guise of learning about talkie.
Japanese: また同じ時期、吉本興業の林弘高の紹介で東宝の滝村和男に数日間、トーキーを学ぶ名目で撮影所に出入りさせた。
English: However, Takimura appeared at the location of "Hatenaki Koro" in Fuji, enticed several persons including Hideharu NAKANO and Naoyo YAMAGATA and brought them to Tokyo.
Japanese: ところが、『涯なき航路』の富士でのロケ先に滝村が現れ、中野英治や山縣直代ら数人を引き抜き、東京へ連れて行かれてしまう。
English: The company was reorganized into 'Makino Talkie Company Ltd.' in September of the year in accordance with the resolution made at the top-level meeting, in which Shinichi OTA, the president of Eion in Tokyo, Suesaburo SASAI, a director of Makino Talkie, Masao MUNETA of Chidori Kogyo, Hideo MATSUYAMA, manager of planning department of Makino Talkie, and Makino, the head of studio, participated.
Japanese: 東京の映音の太田進一社長、マキノトーキー理事の笹井末三郎、千鳥興業の宗田政雄、マキノトーキー企画部長の松山英夫、所長のマキノの首脳会議により、株式会社化を決議、同年9月、組織変更を行ない、同社は「マキノトーキー株式会社」となる。
English: By that time, the company had produced 26 all-talkie films, two part-talkie films and two sound films, and as for their production cost, Chidori Kogyo had paid 405,000 yen to Makino Talkie and the balance of advance payment made by Makino Talkie was 450,000 yen.
Japanese: 同時期の前年末以来の通算生産本数は、オール・トーキー26本、パート・トーキー2本、サウンド版2本であり、総製作費の千鳥興業のマキノトーキーへの支払額が40万5,000円、マキノトーキーの立替額が45万円であった。
English: Under such situation, Chidori and Makino cleared off the above balance, shared the capital and converted into a joint-stock company including the studio, Chidori Kogyo's distribution and its Kobe office.
Japanese: その精算を行ない、千鳥とマキノで資本金を折半し、撮影所と千鳥興業配給とその神戸事務所を株式会社化したのであった。
English: From October 1, Makino Talkie started to distribute films produced by Koyo Eiga in Nishinomiya in place of Chidori Kogyo.
Japanese: またこの翌月10月1日から、従来千鳥興業が配給していた、西宮の甲陽映画の配給をマキノトーキーが配給することとなった。
English: As of the end of the year, aggregate number of films produced after the company became incorporated was 22 talkie films and one sound film which was taken as a spare film.
Japanese: 同年末、株式会社化以降の通算生産本数は、オール・トーキー22本とスペアとしてのサウンド版1本であった。
English: Sasai delivered 20,000 yen, which he secured by selling the land and building he owned for rental business, to the accounting manager Tamaru, and this money was used for the year end bonus for employees.
Japanese: 笹井が自ら経営する賃貸物件の土地建物を売却して調達した2万円を経理部長の田丸に渡し、全従業員の年末賞与とした。
English: Muneta, a senior managing director of Chidori Kogyo, came to the company on January 8, 1937 to pay production expenses, but the company's cash position didn't improve so much due to excessive production.
Japanese: 1937年（昭和12年）1月8日に千鳥興業の宗田専務が製作費をもって現れたが、製作過剰による千鳥からの資金ショートはなかなか緩和されなかった。
English: 350 anarchists were arrested in the same month, and Sasai went missing though he was not arrested.
Japanese: 同月、350名のアナキズムの大量検挙が行なわれ、笹井は逮捕されなかったが行方不明となった。
English: In February of the same year, Makino ignored the proposal to boycott 'Toho Eiga Haikyu,' which was established in June of the previous year, by concluding the agreement among five companies, namely Shochiku, Nikkatsu, Shinko Kinema, Daito Eiga and Makino Talkie.
Japanese: 同年2月、松竹・日活・新興キネマ・大都映画・マキノトーキーの五社協定を組んで、前年6月設立の「東宝映画配給」をボイコットしようという申し入れをマキノは黙殺した。
English: 58 all-talkie films, two part-talkie films, six sound films as well as the studio and machines remained as the assets of Chidori Kogyo.
Japanese: 千鳥興業の財産として、オール・トーキー58本、パート・トーキー2本、サウンド版6本の製作物、撮影所と機材が残った。
English: "Yukyo Taiheiki" directed by Masahiro MAKINO (under the name of Sueroku MAKI), whose filming was under way, was completed by Makino's personal funds, and the planning department manager Matsuyama sold the distribution right of "Hatamoto Goninotoko, Oedo no Tobi" directed by Nobuo NAKAGAWA in Tokyo to pay retirement allowance.
Japanese: 製作中のマキノ正博（「牧陶六」名義）監督作『遊侠太平記』はマキノ個人資金で製作、中川信夫監督作『旗本五人男大江戸の鳶』は松山企画部長が東京で配給権を売却し、これを退職金とした。
English: Around that time, Sasai who returned to Kyoto and Makino had a secret meeting and they decided to liquidate the company in April of the same year.
Japanese: そのころ京都駅に戻ってきた笹井とマキノとの密談で、同年4月の同社解散を決めた。
English: Tameyoshi KUBO of directors' department was transferred to J.O Studio, Sadatsugu MATSUDA, Goro HIROSE, Hiroshi SEIMARU and Fumio MIYAGI were transferred to Shinko Kinema Kyoto Studio led by Masaichi NAGATA, and the members of technical department were also transferred to Shinko Kinema.
Japanese: 監督部の久保為義はJ.Oスタヂオへ、松田定次、広瀬五郎、姓丸浩、宮城文夫は永田雅一所長率いる新興キネマ京都撮影所へ、技術部も新興キネマへ移籍した。
English: Players belonged to the Gigeibu (players) were very much in demand since they could play in talkie films.
Japanese: 技芸部（俳優）は、トーキーに通用する役者たちなので引く手はあまたであった。
English: Most of them, including Junnosuke HAYAMA and Hiroshi OUCHI, were transferred to Shinko Kinema, and Kunitaro SAWAMURA, Ryuzaburo MITSUOKA, Yoichi MIZUHARA, Kunio TAMURA, Tokuma DAN, Takashi SHIMURA, Chiyoko OKURA and Kiyoko OKUBO were transferred to Nikkatsu.
Japanese: 葉山純之輔、大内弘ら大半は新興キネマへ、澤村國太郎、光岡龍三郎、そして第二次入社組の水原洋一、田村邦男、團徳麿、志村喬、大倉千代子、大久保清子らは日活へ行くことになる。
English: A farewell ceremony was held in the evening of a day in early April at commonly-called 'Makino Talkie Square' located in the studio.
Japanese: 同年4月の初めの夕刻、撮影所内の通称「マキノトーキー広場」で解散式を行った。
English: Participants threw the company's signboard into fire, drank cask sake and sang "the company song of Makino Talkie."
Japanese: 同社の看板を火に投じ、樽酒を飲み干し、『マキノトーキー社歌』を歌った。
English: Although "Yukyo Taihiki" was not completed at the time, it was released on August 5 of the same year as the film of Nikkatsu Kyoto Studio.
Japanese: この時点で『遊侠太平記』は未完成であり、完成後の同年8月5日、日活京都撮影所作品として公開された。
English: Makino rejoined Nikkatsu, which had already replaced Yokota, with a scenario written by Yoshitake HISA based on Eiji YOSHIKAWA's "Koi Yamahiko."
Japanese: マキノは、比佐芳武の書いた吉川英治原作の『恋山彦』の脚本を手に、再び横田更迭後の日活に入社した。
English: After getting Tsumasaburo BANDO from Shochiku, he directed "Koi Yamahiko Fuun no maki" with Bando being a leading actor as his first film at Nikkatsu.
Japanese: 松竹から阪東妻三郎を譲り受け、入社第1作として阪東主演で『恋山彦風雲の巻』を監督した。
English: He later directed a musical film "Oshidori Utagassen" (1930) together with Chiezo KATAOKA, who had liquidated Kataoka Production, and Takashi SHIMURA, who had belonged to Makino Talkie.
Japanese: また千恵プロを解散した片岡千恵蔵や元マキノトーキーの志村喬らとミュージカル映画『鴛鴦歌合戦』（1939年）を監督するのはこの後の話である。
English: Makino Talkie Studio with facilities to produce talkie films became 'Imai Eiga Seisakusho' of Risuke IMAI, who had become independent from 'Koyo Eiga.'
Japanese: トーキー設備をもつマキノトーキー撮影所は、「甲陽映画」から独立した今井理輔の「今井映画製作所」となった。
English: The above company produced 22 films, but it was also liquidated in the spring of 1938.
Japanese: 22本を製作したが、同社も翌1938年（昭和13年）春には解散した。
English: Goro HIROSE, who was once transferred to Shinko Kinema, produced four films at Imai Eiga, and Nobuo NAKAGAWA, who was transferred to Toho Kyoto Studio, wrote a piece of scenario.
Japanese: 新興キネマに行ったはずの広瀬五郎は今井映画で4本撮っており、東宝京都撮影所に行った中川信夫も1本シナリオを書いている。
English: Makino Production (established in June, 1925, reorganized in May 1931, the new company was liquidated in October) was a movie company once existed in Kyoto.
Japanese: マキノ・プロダクション（1925年6月設立-1931年5月改組/10月新社解散）は、かつて京都に存在した映画会社である。
English: It produced a lot of great films by joining hands with Sanjugo NOKI, Teinosuke KINUGASA and Daisuke ITO (film director) as well as young actors of independent movie studios such as Tsumasaburo BANDO and Yotaro KATSUMI.
Japanese: 直木三十五、衣笠貞之助、伊藤大輔(映画監督)、そして阪東妻三郎や勝見庸太郎など外部の独立プロダクションの若手とも提携し、数々の傑作を生み出した。
English: It tackled the study on talkie films and released a pioneering talkie film during the last stage of the company, and such efforts led to Makino Talkie Seisaku-jo after the death of Makino.
Japanese: 最末期にはトーキーの研究にとりくんで先駆的トーキー作品を発表、これが牧野没後のマキノトーキー製作所へとバトンをつないでいく。
English: Shozo MAKINO's Makino Eiga Seisaku-jo, which had 'Tojiin Studio,' was absorbed by Toa Kinema in July 1924, and Makino was appointed to the head of Toa Kinema's 'Koyo Studio' and 'Tojiin Studio.'
Japanese: 1924年（大正13年）7月、「等持院撮影所」を持つ牧野省三のマキノ映画製作所は東亜キネマに吸収合併され、牧野は東亜キネマの「甲陽撮影所」と「等持院撮影所」所長に就任した。
English: In January 1925, half a year later, 'Toa Kinema Tojiin Studio' was renamed 'Toa Makino Tojiin Studio' in order to settle the confrontation between the members of Toa group and those of former Makino group (people came from Makino).
Japanese: その半年後の1925年（大正14年）1月、東亜キネマで東亜派と旧マキノ派（出身者）の対立を収めるため、「東亜キネマ等持院撮影所」の名称を「東亜マキノ等持院撮影所」と改称された。
English: At that time, Mikito YAMANE, who was then 31 years old and a film director at 'Toa Kinema Koyo Studio,' became the deputy head.
Japanese: 同時に、所長代理に「東亜キネマ甲陽撮影所」の監督で当時31歳の山根幹人が就任した。
English: Yamane was the husband of Yuki, a daughter of film producer Toyojiro TAKAMATSU in Tokyo, and he was a film director of Takamatsu's 'Katsudo Shashin Kenkyukai' as well as the head of its Azuma Studio.
Japanese: 山根は東京の映画プロデューサー高松豊次郎の娘・雪の夫であり、高松の「活動写真資料研究会」の映画監督、同研究会の吾嬬撮影所長だった人物である。
English: Makino cooperated with 'Rengo Eiga Geijutsuka Kyokai,' which was established in Nara by a novelist Sanjugo NAOKI, and produced its first film "Tsukigata Hanpeita" at 'Toa Makino Tojiin Studio.'
Japanese: また、牧野は、小説家の直木三十五が奈良県に設立した「連合映画芸術家協会」に協力、「東亜マキノ等持院撮影所」で同協会の第1作『月形半平太』を撮影した。
English: Then 46-year-old Makino established 'Makino Production' at Omuro Tenjugaoka in Kyoto.
Japanese: 当時46歳の牧野が京都の御室天授ヶ丘に設立したのが、この「マキノ・プロダクション」である。
English: He constructed 'Makino Production Omuro Studio' and handed over 'Tojiin Studio' to Toa Kinema.
Japanese: 牧野が建てた「マキノ・プロダクション御室撮影所」を開所し、「等持院撮影所」は東亜キネマに明け渡した。
English: Most of former Makino group employees of 'Toa Makino Tojiin Studio' joined the company.
Japanese: 「東亜マキノ等持院撮影所」の旧マキノ派従業員は、その多くが同社の設立に参加した。
English: After Makino left, Masato OZASA, the manager of advertisement department of Yachiyo Insurance Company, the parent company of Toa, became the head of Tojiin Studio.
Japanese: マキノ派が去った後、等持院撮影所長には東亜の親会社・八千代生命の宣伝部長である小笹正人が就任した。
English: In concert with the above movement, Takamatsu established 'Takamatsu Azuma Production' in Tokyo, restarted Azuma Studio under the name of 'Makino Production Tokyo Studio,' and formed 'Makino Tokyo Group.'
Japanese: 東京ではこの動きに呼応して、高松が「タカマツ・アズマプロダクション」を設立、吾嬬撮影所を再稼働、これを「マキノ・プロダクション東京撮影所」とし、「マキノ東京派」を構成した。
English: Makino Production joined hands with 'Bando Tsumasaburo Production' (Bantsuma Pro), which was established by Tsumasaburo BANDO, who became independent around the same time, under the patronage of Ryosuke TACHIBANA.
Japanese: またマキノ・プロダクションは、同時期に独立した阪東妻三郎が立花良介のスポンサードにより設立した「阪東妻三郎プロダクション」（阪妻プロ）と提携した。
English: Makino presided over the production of "Orochi," which was the first film produced by Bantsuma Pro and the second film distributed by it, and "Ijin Musume to Bushi," the first film distributed by Bantsuma Pro, was produced at Azuma Studio (Makino Tokyo Group) and distributed by Makino Production.
Japanese: 同社の阪妻プロの製作第1作・配給第2作『雄呂血』を牧野が製作総指揮を執り、配給第1作『異人娘と武士』の製作を吾嬬撮影所（マキノ東京派）で行ない、マキノ・プロダクションが配給した。
English: In January 1926, four major movie companies boycotted independent movie studios in the same manner as they did against Makino Eiga Seisaku-jo three years before, but Makino endured such pressure.
Japanese: 1926年（大正15年）1月、3年前のマキノ映画製作所ボイコットと同様の独立プロダクション排斥運動をメジャー4社が行なうが、マキノはこれを打破した。
English: The company strengthened both kyugeki (historical films) sector and shingeki (contemporary films) sector, and it challenged to create novel films by producing historical films that eliminated 'tachimawari' (fight scene), which was then considered to be indispensable for historical films.
Japanese: 旧劇（時代劇）、新劇（現代劇）ともに増強、時代劇には欠かせなかった「立ち回り」を排除した作品も製作、新しい映画づくりに挑戦した。
English: In the same year, the company began to cooperate with "Katsumi Yotaro Production" that was established by Yotaro KATSUMI after he resigned from Shochiku Kamata Studio.
Japanese: 同年に松竹蒲田撮影所を退社した勝見庸太郎が設立した「勝見庸太郎プロダクション」と、提携製作を開始する。
English: In January 1927, Makino started to produce a blockbuster movie, "Chukon Giretsu Jitsuroku Chushingura" (The treasury of Loyal Retainers).
Japanese: 1927年（昭和2年）1月、牧野は超大作『忠魂義烈実録忠臣蔵』の製作を開始。
English: In May of the same year, the company established "Makino Production Chubu Studio" (currently, Dotokushin-machi, Minami Ward (Nagoya City), Nagoya City), and Makino's oldest son Masahiro MAKINO, who was a film director and was only 18 years old, became the head of studio.
Japanese: 同年5月、名古屋市に「マキノ・プロダクション中部撮影所」（現在の名古屋市南区(名古屋市)道徳新町）を開所、牧野の長男で映画監督のマキノ雅弘が、弱冠18歳で同撮影所長に就任した。
English: Makino constructed a set of "Matsu no Roka" (literally, a corridor of pine trees) for "Chukon Giretsu Jitsuroku Chushingura" in this studio and began filming.
Japanese: 牧野は同撮影所に『忠魂義烈実録忠臣蔵』の「松の廊下」のセットを建て、撮影にとりかかる。
English: In March 1928, film of "Chukon Giretsu Jitsuroku Chushingura" took fire in the process of cutting and Makino's residence as well as a lot of negatives were burnt down.
Japanese: 1928年（昭和3年）3月、『忠魂義烈実録忠臣蔵』のフィルムが同作の編集中に失火、牧野の本宅と大量のネガ・フィルムが焼失する。
English: Although Makino was in the depth of despair, he started the study on talkie films as early as in November of the same year, only one year after the world's first talkie film "Jazz Singer" was produced in Hollywood and released across the U.S.
Japanese: 失意のどん底に墜ちた牧野はしかし、同年11月、ハリウッドで世界初のトーキー映画『ジャズ・シンガー』（1927年）の全米公開からわずか1年ではやくもトーキーの研究を始める。
English: "Modoribashi" (directed by Masahiro MAKINO), a pioneering domestic disk-method talkie film, was released on July 5, 1929.
Japanese: 翌1929年（昭和4年）7月5日、先駆的な国産ディスク式トーキーである『戻橋』（監督マキノ正博）が公開される。
English: On July 25 of the same year, only two weeks after the release, Shozo MAKINO died at the age of 50, and a big company-sponsored funeral was held at 'Omuro Studio.'
Japanese: そのわずか2週間後の同年7月25日、牧野省三が50歳で死去、「御室撮影所」で盛大な社葬が行われた。