「映画の日」に関連した英語例文の一覧と使い方(12ページ目) - Weblio英語例文検索

またアクション映画の監督と見られがちだが、小松左京原作の『復活の日』や檀一雄原作の『火宅の人』の映像化、『柳生一族の陰謀』や『魔界転生』といった時代劇、『おもちゃ』のような文芸作品からサイエンス・フィクションまで、幅広い作品を残している。例文帳に追加

He is often thought of as an action movie director, but he has left pieces in various fields such as the film adaptions of "Fukkatsu no hi" ("Virus"), originally by Sakyo KOMATSU, "Kataku no hito," originally by Kazuo DAN, historical pieces such as "The Shogun's Samurai : Yagyu Clan Conspiracy" and "Makai tensho" ("Samurai Reincarnation"), and "Omocha" ("The Geisha House"), ranging from literary works to science fiction.  - Wikipedia日英京都関連文書対訳コーパス

光ディスクに、本編の映画コンテンツと、複数の広告コンテンツと、このディスクの再生日時に基づいて前記複数の広告コンテンツのうちいずれかをその時期に応じて択一的に選択を更新してゆくための再生制御情報を書き込んでおく。例文帳に追加

A main movie content, the plurality of advertising contents, and reproduction control information for alternatively updating the selection of any one among the plurality of advertising contents based on a reproduction date and time of the disk, are written onto the optical disk. - 特許庁

同校からは三池崇史・細野辰興・金秀吉・佐々部清・本広克行・李相日などの映画監督、鄭義信などの脚本家・芥川賞作家阿部和重、さらに、タレントのウッチャンナンチャン、俳優の長谷川初範、隆大介などの人材を輩出した。例文帳に追加

School graduates include such directors as Takashi MIIKE, Tatsuoki HOSONO, Sugiru KIM, Kiyoshi SASABE, Katsuyuki MOTOHIRO, and Sang Il LEE, as well as screenwriter Wishing CHONG, Akutagawa Prize-winning author Kazushige ABE, entertainer Utchan Nanchan, and actors Hatsunori HASEGAWA and Daisuke RYU.  - Wikipedia日英京都関連文書対訳コーパス

解散後の山本は、マキノから寛プロが引き継いだ『鞍馬天狗』の近藤勇役を2本演じてから、監督の高見とともに東京の河合映画製作社に入社、撮影技師の藤井は寛プロを経て東亜キネマ京都撮影所へ、糸浦こと桜井は日活撮影所へ移籍した。例文帳に追加

After the dissolution of Yamamoto Pro and after playing the role of Isami KONDO in two movies of "Kurama Tengu," which Kan Pro had succeeded from Makino, Yamamoto joined Kawai Eiga Seisakusha in Tokyo with the director TAKAMI, the cameraman FUJII moved to Kan Pro and then to Toa Kinema Kyoto Studio, and SAKURAI moved to Nikkatsu Studio using the alias ITOURA.  - Wikipedia日英京都関連文書対訳コーパス

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。例文帳に追加

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.  - Wikipedia日英京都関連文書対訳コーパス

60年代に入ると『若い人』（主演石原裕次郎）、『青い山脈』（主演吉永小百合）、『伊豆の踊子』（主演吉永小百合）、『エデンの海』（主演高橋英樹(俳優)）、『帰郷』（主演吉永小百合）などの作品でその才能を遺憾なく発揮し、日本映画の全盛期を飾った。例文帳に追加

In 1960's, he showed his talent freely in movies such as "Wakai hito" (The young people) (main actor was Yujiro ISHIZAKA), "Aoi sanmyaku" (The Green Mountains) (main actress was Sayuri YOSHINAGA), "Dancing Girls of Izu" (main actress was Sayuri YOSHINAGA), "Eden no umi" (The Sea of Eden) (main actor was Hideki TAKAHASHI), "Kikyo" (going home) (main actress was Sayuri YOSHINAGA), and he played an active role in the golden age of Japanese movies.  - Wikipedia日英京都関連文書対訳コーパス

18年には阪東妻三郎を主演に迎え、病床の伊丹が脚本を担当した「無法松の一生」は戦前の日本映画を代表する名作といわれるが、人力車夫・無法松が軍人の未亡人に愛の告白をするという場面が時局に合わないとして、検閲でカットされた。例文帳に追加

In 1943 he welcomed Tsumasaburo BANDO as his new star, and Inagaki's 'Muhomatsu no issei' (Life of Muhomatsu), whose screenplay was written by Itami from his sickbed, is hailed as a pre-1945 masterpiece of Japanese film, but the scene where Muhomatsu the rickshaw driver confesses his love to a soldier's widow was considered unacceptable given the wartime situation and was cut by the censors.  - Wikipedia日英京都関連文書対訳コーパス

第二次世界大戦後には、ウォルト・ディズニーやフライシャー・スタジオの影響を受けた手塚治虫が映画的な構図と漫画固有の記号性を合わせ持った表現技法を「新宝島」で定着させ、手塚の手法は日本漫画のデファクト・スタンダードとなった。例文帳に追加

After World War II, Osamu TEZUKA who was inspired by Walt Disney and Fleischer Studios, Inc. established the expression technique in "Shin Takarazima" combining cinematic composition with symbolism specific to the comic, and his technique became the de facto standard of Japanese comics.  - Wikipedia日英京都関連文書対訳コーパス

第1作は東隆史監督の『洛陽餓ゆ』で、パラマウント映画社の配給により同年7月15日に公開されたが、第2作、おなじく東監督の『風雲長門城』からは、同年に帝国キネマから改組された新興キネマの配給となった。例文帳に追加

While Paramount Pictures, Inc. distributed the first production, "Rakuyo Uyu" (Hunger in Kyoto), directed by Takashi AZUMA and released it on September 15, 1931, it was decided that Shinko Kinema, which was reorganized from Teikoku Kinema (formally known as Teikoku Kinema Engei Kabushiki Gaisha [Imperial Cinema Entertainment Co. Ltd.]) during the same year, would distribute their films starting from the second production, "Fuun Nagato-jo" (Nagato-jo Castle in Turbulent Times), directed by the same director.  - Wikipedia日英京都関連文書対訳コーパス

またそれに先立つ同年4月、配給業者による中間搾取のない製作と興行の直結を訴える山崎徳次郎が「日本活動常設館館主連盟映画配給本社」を結成、5つのスタープロダクションを製作費と興行の面で支えることとなった。例文帳に追加

Tokujiro YAMAZAKI made an appeal to eliminate the exploitation of productions and performances by establishing 'Nihon Katsudo Josetsukan Kanshu Renmei Eiga Haikyu Honsha' (Distribution Company Headquarters for Movie Theater Owners in Japan) (also known as "Kanshu Renmei" [the Theater Owner's Association]) and began supporting the five production companies' production fees and promotions.  - Wikipedia日英京都関連文書対訳コーパス

1991年、読売テレビの深夜映画番組（『CINEMAだいすき!』）で鈴木清順特集が組まれ、日活時代から復活後までの作品と、それらの作品などを珍しく積極的に語る監督の貴重なインタビューが放送された。例文帳に追加

In 1991, there was a special program on Seijun SUZUKI on "CINEMA Daisuki" (we love movies), a late night TV show on the Yomiuri TV covering the movie-related matters, featuring footages from his films made between his days at Nikkatsu and his directorial come back and a rare interview given by Suzuki in which he candidly discussed various matters including those films.  - Wikipedia日英京都関連文書対訳コーパス

同年5月、連合映画芸術家協会の伊藤大輔との競作『日輪』では、ロシア構成主義者村山知義の抽象画風の装置を演出に取り入れ話題となり、第3回（1926年度）キネマ旬報ベストテンで第2位に選出。例文帳に追加

In May of the same year, he was nominated as the second winner in the Third Kinema Junpo Top Ten (1926) because he used the setting featuring the abstract painting style of Tomoyoshi MURAYAMA as Russian Constructivism in a movie "Nichirin" a joint film with Daisuke ITO and drew a lot of attention.  - Wikipedia日英京都関連文書対訳コーパス

欧米では映画の中に挿入されるセリフや背景解説のショット（図を参照）と伴奏音楽によって上映されていたが、日本では言語や文化背景の相違も影響し、上映する際には口頭で説明することが求められた。例文帳に追加

In Europe and America, movies had the shots of lines and background briefings shown on screen (see image) and also had musical accompaniment, but in Japan, language, cultural background and other factors different from the West meant that simultaneous narration was demanded.  - Wikipedia日英京都関連文書対訳コーパス

大和絵の手法によって描かれた絵と詞書とを交互につらね、異時同図法によってあたかも映画を見るようにつぎつぎに展開する画面の連続は、世界の絵画史においても他にほとんど類例をみないきわめて日本的な形態である。例文帳に追加

Illustrations drawn in the method of Yamato-e painting (a traditional Japanese style painting of the late Heian and Kamakura periods dealing with Japanese themes) and Kotobagaki are alternately placed and each frame is advanced as if it was a movie, using the compositional method; a method to show successive events within a unified background, which is a typical Japanese style with hardly no real precedent in international painting history.  - Wikipedia日英京都関連文書対訳コーパス

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。例文帳に追加

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.  - Wikipedia日英京都関連文書対訳コーパス

一方、ASEAN4の文化コンテンツに関しては、「料理」、「旅行」、「音楽」、「映画」が上位に入っているが、実際に経験した人々の割合は日本・中国・NIEsのコンテンツを経験した割合と比較すると、若干低い水準にあることが分かる。例文帳に追加

On the other hand, with regard to the cultural contents of the ASEAN4 countries, the top positions are accounted for by "cooking," "travel," "music," and "movies," but when comparing the proportion of people who have actually experienced Japanese, Chinese, or the NIEs contents to those who have actually experienced those of the ASEAN4 countries, it is evident that the proportion of people with experience of ASEAN4 contents is at a lower level. - 経済産業省

ANEW では、日本の魅力あるコンテンツを素材として、グローバルに展開することを視野に入れた映画化等の企画開発業務をハリウッドスタジオ等と協力して行い、海外で大きな収益を上げることができる革新的事例の創出を目指す。例文帳に追加

With the aim of creating innovative contents that can earn large profits overseas from Japanese attractive content materials, ANEW engages in planning and development activities for, for example, films with a possibility of future global development in cooperation with studios in Hollywood. - 経済産業省

登場人物が綺麗な新品の服ではなく、着古した古着を着ていたり、毎日さかやきを剃るはずが無いから、剃った部分に髪が生えてくる等の実に細かい部分をリアルに丹念に描き、「第76回アカデミー賞」外国語映画部門にノミネートされた。例文帳に追加

Real details are carefully depicted, with the characters wearing worn-out old clothes instead of beautiful new ones, and having stubble growing in the shaved part of the head since people could hardly shave it everyday, and the film was nominated for the Best Foreign Language Film award at the 76th Academy Awards.  - Wikipedia日英京都関連文書対訳コーパス

昭和51年（1976年）に日本アート・シアター・ギルドで撮ったデカダンス描写にこだわりを見せたオールフランスロケの意欲作『変奏曲』では、人間の目に最も好ましいとされる画面・ゴールデン・セクション・サイズ（1：1､618）を、映画としては世界で初めて導入する。例文帳に追加

He introduced the golden ratio for the screen (1:1, 618), which was seen as the best for human's eye, in "Hensokyoku" (Variation) which was shot on location in France insisting on decadence in the Art Theatre Guild in 1976, for the first time in the world.  - Wikipedia日英京都関連文書対訳コーパス

同年（大正15年）5月2日、映画の配給業者であった元東亜キネマ取締役営業部長立花良介の一立商店がスポンサーとなり、「合名会社一立商店阪東妻三郎プロダクション太秦撮影所」を開設した。例文帳に追加

On May 2, 1926, the partnership company, 'Ichiritsu & Co. and Bando Tsumasaburo Productions' Uzumasa Studio' was established, sponsored by Ichiritsu & Co., owned by Ryousuke TACHIBANA, the former sales department manager of the former film distribution company called Toa Kinema.  - Wikipedia日英京都関連文書対訳コーパス

『白昼の通り魔』（1966年）、『忍者武芸帳』（1967年、アニメ）、『絞死刑(映画)』（1968年）、『新宿泥棒日記』（1969年）など、政治的な色合いを強く持つと共に、ジャーナリスティックな側面をも併せ持った作品を矢継ぎ早に制作、公開し国内外の認知度も高くなった。例文帳に追加

Oshima produced and released works with both strong political and journalistic aspects in rapid succession, such as "Violence at High Noon" (1966), "Tales of the Ninja" (1967 anime film), "Death by Hanging" (a film, 1968), and "Diary of a Shinjuku Thief" (1969), making him known both in Japan and abroad.  - Wikipedia日英京都関連文書対訳コーパス

同年、日活撮影所に移り、まだ新人だった大河内傳次郎とコンビを組み、『長恨』、『流転』などの時代劇作品を監督、激しい乱闘シーンやアメリカ・ドイツ・ソ連など外国映画の影響を受けた大胆なカメラワークで注目を浴びる。例文帳に追加

After transferring to Nikkatsu Studio this year, he worked with Denjiro OKOCHI, who was still new to directing period dramas such as "Chokon" (long resentment) and "Ruten" (continual change), and attracted attention with furious brawl scenes and bold camera work influenced by foreign films from the U.S., Germany, Soviet Union and so on.  - Wikipedia日英京都関連文書対訳コーパス

この回顧上映時には『猟人日記』に準主演するなどして中平作品とも関わりのあった戸川昌子が主催する文化サロン「青い部屋」にてミルクマン斉藤と戸川による中平康トークイベントも開催され、こちらも若い映画ファンを中心に賑わいを見せた。例文帳に追加

At the time of this memorial screening, an event that included Milkman SAITO and Masako TOGAWA, who were familiar with Nakahara as she played the second lead in "Ryojin Nikki," talked about Ko NAKAHIRA at her salon 'Blue room,' where many young film fan joined.  - Wikipedia日英京都関連文書対訳コーパス

競馬場のパドック、ウィナーズサークル、緑の広場など各所を舞台にして縁日、子供向けアニメ・特撮キャラクターショー、アニメ映画上映会（2005年はプロ野球中継・阪神タイガース戦上映会も）が行われる。例文帳に追加

At various places at the racecourse, such as the paddock, winners' circle and the green plaza etc., fair stall events, the showing of animation and special effects films for children and the screening of animation films (in the case of 2005, live coverage of professional baseball game of Hanshin Tigers) are held.  - Wikipedia日英京都関連文書対訳コーパス

同年10月4日には、早くも監督ジェイ・マーチャント、現像技師アルフレッド・ゴズディン、撮影技師ハロルド・スミス、電気技師（照明技師）アル・ボックマンとともに、ベルハウエルの映画用カメラ6台、野外用ゼネ（発電機）2台、照明機材80台などが横浜港に到着した。例文帳に追加

On October 4th of the same year, six movie cameras manufactured by Bell and Howell, two outdoor generators and eighty pieces of lighting equipment arrived at Yokohama Harbor together with director Jay Marchant, development engineer Alfred Gosdin, filming engineer Harold Smith and electrical engineer (lighting engineer) Al Bockman.  - Wikipedia日英京都関連文書対訳コーパス

JCPでは映画会社、テレビ局、出版社、アニメ制作会社、レコード会社などと連携し、各種エンターテインメントコンテンツを活用しながら日系企業の海外マーケティングを支援するため様々なプロジェクトを推進している。例文帳に追加

JCP works with a movie company, television company, printing company, anime producer, recording company, etc, and promote various projects to support Japanese-based companies in terms of overseas marketing while making use of various kinds of entertainment contents. - 経済産業省

そのころ、マキノの四国ブロック配給を行っていた三共社の山崎徳次郎は、阪東妻三郎プロダクションの経営者・立花良介と謀り、神戸市の菊水キネマ商会の大島菊松ら全国150館の独立系映画館主に呼びかけ、大阪に「日本活動常設館館主連盟映画配給本社」を設立、独立プロダクションへの製作費の出資と作品の直接公開の方針を打ち出した。例文帳に追加

At about that time, Tokujiro YAMAZAKI of Sankyo, which distributed Makino's movies in the Shikoku area, conspired with Ryosuke TACHIBANA, the top executive of Bando Tsumasaburo Productions, to ask 150 independent theater owners throughout Japan, including Kikumatsu OSHIMA of Kikusui Kinema in Kobe, to cooperate in establishing 'Nihon Katsudo Josetsukan Kanshu Renmei Eiga Haikyu Honsha' (Distribution Company Headquarters for Movie Theater Owners in Japan) (also known as "Kanshu Renmei" [the Theater Owner's Association]) in Osaka and declaring policies on directly releasing movies and funding for production costs of independent productions.  - Wikipedia日英京都関連文書対訳コーパス

そのきっかけとして、同年4月、当時マキノの四国ブロック配給を行っていた三共社の山崎徳次郎が、阪東妻三郎プロダクションの経営者・立花良介と計画し、神戸市の菊水キネマ商会の大島菊松を中心とした全国150館の独立系映画館主に呼びかけ、大阪に「日本活動常設館館主連盟映画配給本社」を設立、独立プロダクションへの製作費の出資と作品の直接公開の方針を打ち出すという動きがあった。例文帳に追加

As prelude to this establishment, in April of 1928 Tokujiro YAMAZAKI of Sankyo, which had been distributing Makino films in the Shikoku area, conspired with the top executive of Bando Tsumasaburo Productions named Ryosuke TACHIBANA to ask 150 independent theater owners throughout Japan, including Kikumatsu OSHIMA of Kikusui Kinema in Kobe, to cooperate in establishing 'Nihon Katsudo Josetsukan Kanshu Renmei Eiga Haikyu Honsha' (Distribution Company Headquarters for Movie Theater Owners in Japan) (also known as "Kanshu Renmei" [the Theater Owner's Association]) in Osaka and declaring policies of directly releasing films as well as funding for production costs of independent productions.  - Wikipedia日英京都関連文書対訳コーパス

次に、東アジアにおける「自身が経験した文化コンテンツ」の結果を見ると、日本、中国、NIEsの文化コンテンツに関しては、いずれも「映画」、「音楽」、「料理」、「ドラマ」が上位に入っており、中でも、日本、中国、韓国の当該コンテンツは、東アジアの中間層の３～４割に経験されていることが分かる（第2-5-20表）。例文帳に追加

Next, as we take a look at the "cultural contents experienced by survey respondents" in East Asia, we can see that in terms of cultural contents of Japan, China, and the NIEs the top positions are accounted for by "movies," "music," "cooking," and "drama." Among these, contents pertaining to Japan, China, and Korea can be seen to have been experienced by 30% to 40% of the middle classes of East Asia (Table 2.5.20). - 経済産業省

そして現在の目で見ると中平康の自伝のようにも見える（ミルクマン斉藤による）といわれる後期作品『闇の中の魑魅魍魎』と、日本映画の枠からの脱却を計った『変奏曲』は過去にビデオ化されており比較的鑑賞が容易な作品であるが、評価については賛否が分かれている（荻昌弘は『変奏曲』をその年のキネマ旬報ベストテンのベスト3にあげている）。例文帳に追加

His later work "Yami no naka no Chimimoryo" which was said to be seen as a biography of Ko NAKAHIRA from the present point of view (according to Milkman SAITO) and "Hensokyoku" which aimed to escape from the frame of Japan film were already made into video, so they are easily watched, but their evaluation is controversial (Masahiro OGI selected "Hensokyoku" as the best three films in Kinema Junpo in that year).  - Wikipedia日英京都関連文書対訳コーパス

年末12月31日公開の正月映画として、金森万象監督の『青春の悲歌』を「成子不二館」に、おなじく金森監督の『祇園情話蕾のまゝ』と後藤秋声監督の『男が妻を選ぶ時』の2本立て番組を復興後の浅草に建った「浅草オペラ館」にきっちり供給した。例文帳に追加

As New Year's movies to be released on the New Year's Eve, the company distributed "Seishun no Hika"(Elegy of Adolescence) directed by Bansho KANAMORI to the Narukofuji-kan theater and also went as far as to distribute a double feature of "Gion Jowa Tsubomi no Mama"(Love story in Gion, a budding woman) also directed by Kanamori and "Otoko ga Tsuma wo Erabutoki" (When a man choose his wife) directed by Shusei GOTO to the 'Asakusa Opera-kan Theater' which had been built after reconstruction of Asakusa area.  - Wikipedia日英京都関連文書対訳コーパス

第二十五条の二　使用者は、法別表第一第八号、第十号（映画の製作の事業を除く。）、第十三号及び第十四号に掲げる事業のうち常時十人未満の労働者を使用するものについては、法第三十二条の規定にかかわらず、一週間について四十四時間、一日について八時間まで労働させることができる。例文帳に追加

Article 25-2 (1) An employer who usually employs less than 10 workers in a business stipulated in items (viii), (x) (except businesses producing motion pictures), (xiii), and (xiv) of appended table 1 of the Act may have a worker work up to 44 hours in a week and up to 8 hours in a day, notwithstanding the provisions of Article 32 of the Act.  - 日本法令外国語訳データベースシステム

同作は、「市川小文治歌舞伎映画プロダクション」製作の『野崎村』、「中根龍太郎喜劇プロダクション」（中根プロ）製作の『助太刀商売』、この流れとは別に帝国キネマから独立した森本登良男の作家系インディペンデント・プロダクション「森本登良男プロダクション」の『戦鑑三笠』と4本まとめて、同年7月1日に「菊水館」を中心に公開された。例文帳に追加

The film was released in theaters such as the 'Kikusuikan' on July 1, 1928 as a dual feature with "Nozaki-mura Village" produced by 'Ichikawa Kobunji Kabuki Eiga Productions,' "Sukedachi Shobai" (The Business of Backing Up Somebody) produced by 'Nakane Ryutaro Comedy Productions' (Nakane Pro) and "Battleship Kinugasa" by 'Morimoto Torao Productions,' a writer-led independent production by Torao MORIMOTO, who had separated from Teikoku Kinema Engei Kabushiki Gaisha (Imperial Cinema Entertainment Co., Ltd.) apart from the aforementioned movement.  - Wikipedia日英京都関連文書対訳コーパス

妥協を許さぬ「うるさ型」の監督として知られ、『殺したのは誰だ』の時は同じうるさ型の作曲家・伊福部昭と組むことになり、両者の衝突は避けられぬと撮影所内には作品の完成を危ぶむ声まであったと伝えられる（（株）バップ『伊福部昭未発表映画音楽全集日活編』VPCD-81189）。例文帳に追加

He was known as a 'stubborn' director and it is said that when shooting "Koroshita no wa dareda" working with Akira IFUKUBE, who was a 'stubborn' composer like him, people in the studio were afraid that they would conflict with one another and that the film might not be completed ("Akira IFUKUBE's unpublished collected works of film music of Nikkatsu" VPCD-81189 published by Vap Inc.).  - Wikipedia日英京都関連文書対訳コーパス

そして、日本一の美女と言われ、美人の代名詞であった看板女優・山本富士子が他社出演の許可と出演本数を少なくするという約束を守ってほしいと頼んだところ永田社長の怒りを買い、一方的に解雇され、五社協定にかけられ他社の映画や舞台にも出演できなくなる。例文帳に追加

In addition, Fujiko YAMAMOTO, a top actress who was known as the most beautiful woman in Japan, requested permission to appear in films produced by other companies and to reduce the number of films required under contract, angering Daiei president Nagata and resulting in her dismissal and a ban on appearing in any film or theatrical production under the five-party agreement among the top film companies regarding management of film cast and crew.  - Wikipedia日英京都関連文書対訳コーパス

1936年（昭和11年）には、トーキー脚本に力を見せた脚本家グループ「梶原金八」のメンバーである山中貞雄を起用、山中が『河内山宗俊』を日活との提携で撮り、また、その弟子の助監督・萩原遼(映画監督)が、山中の原作を得て自ら脚色し、高勢実乗を主演にした『お茶づけ侍』で監督としてデビューした。例文帳に追加

The company hired Sadao YAMANAKA, who was a member of 'Kinpachi KAJIWARA', which was a group of script writers that proved their ability in talkie scripts, and Yamanaka shot "Soshun KOCHIYAMA" with Nikkatsu, and his disciple assistant director Ryo HAGIWARA (film director) gained and adapted the original script of Yamanaka to make a debut as a director in "Ochazuke Samurai" (literally, "rice soup samurai"), starring Minoru TAKASE.  - Wikipedia日英京都関連文書対訳コーパス

その後は日活太秦や太秦京都を中心に映画を撮影し、10年山中と共同監督した「関の弥太ッぺ」、中里介山原作の「大菩薩峠」、11年前進座出演の「股旅千一夜」、16年「海を渡る祭礼」などといった時代劇の大作や話題作を製作。例文帳に追加

Following this, Inagaki continued to shoot films, mainly around Nikkatsu Uzumasa and Uzumasa Kyoto, and in 1935 he co-directed 'Seki no Yatappe' with Yamanaka; Inagaki also independently crafted some of his most celebrated epic and period films during this period, including his 1935 film 'Daibosatsu toge' (literally 'The Bodhisattva's Pass' but sometimes credited as 'The Sword of Doom' in English) based on the original novel by Kaizan NAKAZATO, his 1936 film 'Matatabi sen-ichi ya' (A Thousand and One Nights in a Gambler's Wandering Life) starring the actors of the Zenshin troupe, and the film 'Umi wo wataru sairei' (The Ocean-Crossing Festival) in 1941.  - Wikipedia日英京都関連文書対訳コーパス

片岡と同時期に嵐寛寿郎、中根龍太郎、山口俊雄(新派俳優)、市川小文治らはそれぞれ自らのプロダクションを設立、山本の「山本プロ」とともに「日本映画プロダクション連盟」を結成し、河合・田中の「双ヶ丘撮影所」をレンタル使用して製作、山崎らの「館主連盟」に対する作品供給を開始した。例文帳に追加

Concurrently with KATAOKA, Kanjuro ARASHI, Ryutaro NAKANE, Toshio YAMAGUCHI (an actor belonging to Shinpa-Geki) and Reizaburo YAMAMOTO establishing their own productions, they formed the 'Japan Movie Production Federation' with Kobunji's "Kabuki Eiga Pro" and started to supply YAMAZAKI's 'Kanshu Renmei' with films that were shot using the rentable 'Narabigaoka Studio' operated by KAWAI and TANAKA.  - Wikipedia日英京都関連文書対訳コーパス

目立ちたがり屋で、ヘソ曲がりの中平は、住んでいる家も常識破りの家で、普通、家は門を入ると玄関があるが、中平の家は門を入ると裏口があり、裏に回ると玄関がある、という不思議な一風変わった家であったと伝えられる（石坂昌三著『巨匠たちの伝説映画記者現場日記』三一書房）。例文帳に追加

It is said that he was such a posey and perverse fellow as he lived in a unique house which had a back door inside of the front gate and an entrance to the backyard although a common house had the entrance inside of the front gate ("Legends of Masters, Diary of a Film Reviewer in the Fields" written by Shozo ISHIZAKA, published by Sanichi Shobo).  - Wikipedia日英京都関連文書対訳コーパス

翌1922年（大正11年）「マキノ映画製作所」と名称を変え、1923年（大正12年）9月1日の関東大震災で製作中止に追い込まれた大活から内田吐夢ら、国際活映から環歌子や阪東妻三郎が参加し、20前後の若いスタッフたちの自由な発想で作ったリアルな剣戟が人気をよぶ。例文帳に追加

The next year, in 1922, the company changed its name to 'Makino Eiga Seisakusho (Makino Film Studio)' and, after the Great Kanto Earthquake of September 1, 1923 Tomu UCHIDA and others from Daikatsu and Utako TAMAKI and Tsumasaburo BANDO from Kokusai Katsuei which were forced to suspend their productions, joined and its realistic sword fights, produced by young and creative staff around twenty years old, became popular.  - Wikipedia日英京都関連文書対訳コーパス

昭和39年（1964年）には近年特に有名となったフォトジェニックな加賀まりこの『月曜日のユカ』、性愛にのめり込んで行く中年男性を仲谷昇主演で描く戸川昌子原作『猟人日記』、映画化不可能とまでいわれた吉行淳之介原作『砂の上の植物郡』、同じ仲谷・稲野和子コンビの『おんなの渦と渕と流れ』と立て続けに撮った実験的異色作にも並々ならぬ才気を見せる。例文帳に追加

In 1964 he directed "Getsuyobi no Yuka" starring photogenic Mariko KAGA which recently became famous, "Ryojin Nikki" (The Hunter's Diary) which was based on the book written by Masako TOGAWA and in which Noboru NAKAYA was stared and played a middle age man who fell into sexual love, "Suna no ue no Shokubutsugun" (Plants in the sand) which was based on the book written by Junnosuke YOSHIYUKI and which was said to be impossible to be made into a film, and "Onna no uzu to fuchi to nagare" (Whirlpool of Women) starring Nakaya and Kazuko INANO one after another, which were experimental unique works illustrating his distinguished talent.  - Wikipedia日英京都関連文書対訳コーパス

新撰組組員の墓参りをする女性ファンも多く、坂本龍馬ら勤皇の志士と共に“日本史のアイドル的存在”となっているが、明治政府がかれらと敵対する勤皇派志士たちによって設立された経緯もあり、近年まで史学的にもほとんど注目されることがなく、現在における人気は子母沢寛や司馬遼太郎らによる新選組をテーマにした数々の小説やTVドラマ・映画等の影響が大きい。例文帳に追加

Many female fans also visit the tombs of Shinsen-gumi members, who, together with Imperial loyalists such as Ryoma SAKAMOTO, are "idols of Japanese history"; but as the Meiji Government was established by Imperial loyalists who were opposed to them, hardly any notice was taken of Shinsen-gumi from a historical standpoint until recently, and their current popularity owes much to many novels about them written by such people as Kan SHIMOZAWA, Ryotaro SHIBA, and also TV dramas, movies, etc.  - Wikipedia日英京都関連文書対訳コーパス

日本では珍しいスラップスティックとパロディで傑作といわれる『牛乳屋フランキー』、映画監督として「自分はあくまでもソフィスケイトを目指す」と語っていたように「最も中平康らしい作品」といわれる、森英恵による衣装も絢爛たるルネ・クレール風の『街燈』、若き前衛芸術家達の青春群像を描いたコメディ『誘惑』、ビリー・ワイルダータッチを狙った風俗喜劇『才女気質』等のスピーディーで軽妙洒脱な作品に力量を発揮した。例文帳に追加

He showed his talent in speedy, light, and unrestrained films such as "Gyunyuya Furanki" (Milk rounds man Furanki) which was praised as a masterpiece for slapstick and parody rarely seen in Japan, "Gaito" called 'the most typical film of Ko NAKAHIRA' and used gorgeous costumes designed by Hanae MORI as he said that 'I consistently aim to produce sophisticated films' as a film director, "Yuwaku" (temptations) a comedy showing the adolescence of young vanguardartists, and "Saijo Katagi" (A character of intelligent lady), a comedy of manners aimed to have the same touch as that of Billy Wilder.  - Wikipedia日英京都関連文書対訳コーパス

一方の締約国の居住者である個人が演劇、映画、ラジオ若しくはテレビジョンの俳優、音楽家その他の芸能人又は運動家として他方の締約国内で行う個人的活動によって取得する所得（第七条及び第十四条の規定に基づき当該他方の締約国において租税を免除される所得に限る。)に対しては、当該他方の締約国において租税を課することができる。ただし、当該芸能人又は運動家がそのような個人的活動によって取得した総収入の額（当該芸能人若しくは運動家に対して弁償される経費又は当該芸能人若しくは運動家に代わって負担される経費を含む。)が当該課税年度において一万合衆国ドル又は日本円によるその相当額を超えない場合は、この限りでない。例文帳に追加

Income derived by an individual who is a resident of a Contracting State as an entertainer, such as a theater, motion picture, radio or television artiste, or a musician, or as a sportsman, from his personal activities as such exercised in the other Contracting State, which income would be exempt from tax in that other Contracting State under the provisions of Articles 7 and 14, may be taxed in that other Contracting State, except where the amount of the gross receipts derived by such entertainer or sportsman, including expenses reimbursed to him or borne on his behalf, from such activities does not exceed ten thousand United States dollars ($10,000) or its equivalent in Japanese yen for the taxable year concerned.  - 財務省

第四十二条　国内において所得税法第百六十一条第二号に規定する事業（映画若しくは演劇の俳優、音楽家その他の芸能人又は職業運動家の役務の提供（以下この項及び第三項において「芸能人等の役務提供」という。）を主たる内容とする事業に限る。）を行う非居住者又は外国法人（国内に居所を有し、又は国内に事務所、事業所その他これらに準ずるものを有するものを除く。）で、芸能人等の役務提供に係る同号に掲げる対価につき同法第百六十二条に規定する条約（以下この項において「租税条約」という。）の規定により所得税が免除されるもの（国内に恒久的施設（当該租税条約に定める恒久的施設をいう。以下この項において同じ。）を有しないこと又はその対価がその国内に有する恒久的施設に帰せられないことを要件として所得税が免除されるものに限る。以下この項及び第三項において「免税芸能法人等」という。）が、国外においてその所得税を免除される対価のうちから次の各号に掲げる者に対して当該各号に定める給与若しくは報酬又は対価（以下この条において「芸能人等の役務提供報酬」という。）を支払うときは、当該免税芸能法人等は、その支払の際、当該芸能人等の役務提供報酬の額に百分の二十の税率を乗じて計算した金額の所得税を徴収し、その徴収の日の属する月の翌月末日までに、これを国に納付しなければならない。例文帳に追加

Article 42 (1) Where a nonresident or foreign corporation (excluding a nonresident having a residence in Japan or a foreign corporation having an office, place of business or any other business facility equivalent thereto in Japan) engaged in conducting, in Japan, the business prescribed in Article 161(ii) of the Income Tax Act (limited to a business that is mainly intended to provide the services of motion picture or theatre artistes , musicians and any other entertainers, or professional athletes (hereinafter referred to in this paragraph and paragraph (3) as the "provision of the services of entertainers, etc.")), which is exempt from income tax pursuant to the provisions of a convention prescribed in Article 162 of the said Act (hereinafter referred to in this paragraph as a "tax convention") with respect to the consideration listed in Article 161(ii) of the said Act for the provision of the services of entertainers, etc. (such nonresident or foreign corporation shall be limited to those to be exempt from income tax on condition that the nonresident or foreign corporation has no permanent establishments (meaning permanent establishments specified by the said tax convention; hereinafter the same shall apply in this paragraph) in Japan or that the consideration to be received by the nonresident or foreign corporation is not attributed to his/her or its permanent establishments located in Japan; hereinafter referred to in this paragraph and paragraph (3) as a "tax-exempt entertainment corporation, etc."), pays outside Japan to the person listed in any of the following items, pay, remuneration or consideration specified in the relevant item (hereinafter referred to in this Article as "remuneration for the provision of the services of entertainers, etc."), from the consideration for which the tax-exempt entertainment corporation, etc. is exempt from income tax, the said tax-exempt entertainment corporation, etc. shall, upon payment, collect income tax equivalent to the amount calculated by multiplying the amount of remuneration for the provision of the services of entertainers, etc. by a tax rate of 20 percent, and pay it to the State no later than the last day of the month following the month that includes the date of collection:  - 日本法令外国語訳データベースシステム