「魑魅」を含む例文一覧(10)

  • -「魑魅魍魎」ミヅマアートギャラリー(東京)
    Chimi moryo' Mizuma Art Gallery (Tokyo)  - Wikipedia日英京都関連文書対訳コーパス
  • また妖（夭）・鬼・怪異・魑魅魍魎（ちみもうりょう）・憑き物・百鬼・魔・魔物・物の怪（勿の怪）・物の気・妖異という。
    Also referred to yo (妖 [夭]), oni (鬼), kaii (怪異), chimimoryo (魑魅魍魎), tsukimono (憑き物), hyakki (百鬼), ma (魔), mamono (魔物), mononoke (物の怪 [勿の怪}), mononoke (物の気) and yoi (妖異).  - Wikipedia日英京都関連文書対訳コーパス
  • まして古代においては山は魑魅魍魎が住む危険な場所と考えられていた。
    Moreover, in ancient times mountain areas were thought to be dangerous places where the evil spirits of the mountains and rivers lived.  - Wikipedia日英京都関連文書対訳コーパス
  • これに対して後に中平も「フランスの主催する映画祭なのですから文句をつけるものでもなく、抗議は筋違い」と大島監督を批判しているが、結果的に『闇の中の魑魅魍魎』は受賞を逃す。
    On the other hand, Nakahira later criticized Oshima 'Because it is a film festival held by France, we should not criticize how they do it and it is wrong to protest against it,' but as a result, "Yami no naka no Chimimoryo" could not receive a prize.  - Wikipedia日英京都関連文書対訳コーパス
  • 古くから洛北の街道筋でも難所としてその名を知られており、鞍馬という名からも分かるとおり魑魅魍魎が現れる峠と伝えられる。
    Since ancient times the Pass has been known as one of chokepoints in main roads of Rakuhoku (Northern Kyoto), and as the name Kurama (a Japanese ghost) suggests, it is said to be a pass which various ghosts and monsters had gathered.  - Wikipedia日英京都関連文書対訳コーパス
  • 夭怪とも表記し、妖（夭）・鬼・お化け・怪異・怪物・化生・魑魅魍魎（ちみもうりょう）・憑き物・化け・化け物・百鬼・変化（へんげ）・魔・魔物・物の怪（勿の怪）・物の気・妖異・妖怪変化なども同様な意味で使われる。
    Yokai can be written using other Chinese characters, 夭怪, and words such as yo, oni, obake (ghost), kaii (mysterious creature), kaibutsu (monster), kesho (reincarnated or transformed being), chimimoryo (evil spirits of mountains and rivers), tsukimono (something that possesses people or things), bake (ghost), bakemono (ghost), hyakki (hundred demons), henge (apparition), ma (devil), mamono (devil), mononoke (specter), mononoke, youi, yokaihenge (specter) are also used with a similar meaning.  - Wikipedia日英京都関連文書対訳コーパス
  • 中平作品の脚本を度々担当し、助監督時代から信頼していた新藤兼人に脚本を依頼して製作した『闇の中の魑魅魍魎』が第24回カンヌ国際映画祭コンペティション部門に撰ばれ好評を博した。
    He produced "Yami no naka no Chimimoryo" (Evil spirits in the dark) with the scenario written by Kaneto SHINDO who had sometimes written scenarios for Nakahira's films and had been relied upon by him since Nakahira was an assistant director, was listed in the competition of the 24th Cannes International Film Festival and received a good reputation.  - Wikipedia日英京都関連文書対訳コーパス
  • だが、これに洩れた大島渚監督が選考経緯不明瞭としてカンヌ国際映画祭事務当局に強く抗議、騒動となった（日本映画製作者連盟が正式出品作は1国につき1作品の規定にも関わらず、中平・大島両監督の作品を送り、カンヌ国際映画祭事務当局によって『闇の中の魑魅魍魎』が正式出品作として選ばれたという経緯があった）。
    However, the film director Nagisa OSHIMA, whose film was not listed, strongly protested against the office of the Cannes International Film Festival, and caused a fuss (On the background, although there was a provision that only one film could be listed officially from one country, the Motion Picture Producers Association of Japan, Inc. sent both films of Nakahira and Oshima, and the office of Cannes International Film Festival selected "Yami no naka no Chimimoryo" as the official film).  - Wikipedia日英京都関連文書対訳コーパス
  • 平成15年（2003年）には第16回・東京国際映画祭協賛企画「映画をデザインした先駆的監督・中平康レトロスペクティヴ」として『闇の中の魑魅魍魎』と『変奏曲』を除く国内の映画全作品に加えて、日本初公開となる『狂恋詩』、『猟人』の2本の香港作品まで上映させるという大規模な回顧上映が渋谷ユーロスペース他、全国で開催され多くの注目を集めた。
    In 2003, a large memorial screening titled 'Ko NAKAHIRA Retrospective, a pioneer director who designed films' that was supported by the 16th Tokyo International Film Festival was held in various places throughout Japan, including Shibuya Eurospace; this screening, which attracted a lot of attention, included not only all the films he made in Japan except for "Yami no naka no Chimimoryo" and "Hensokyoku," but also the two films he produced in Hong Kong, "Kyorenshi" and "Karyudo."  - Wikipedia日英京都関連文書対訳コーパス
  • 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）。
    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

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