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Don Rosa

Keno Don Hugo Rosa, known as Don Rosa (born June 29, 1951), is an American comic book writer and illustrator known for his Disney comics stories about Scrooge McDuck, Donald Duck, and other characters which Carl Barks created for Disney-licensed comic books, first published in America by Dell Comics. Many of his stories are built on characters and locations created by Barks; among these was his first Duck story, "The Son of the Sun" (1987), which was nominated for a Harvey Award in the "Best Story of the Year" category.

Rosa created about 90 stories between 1987 and 2006. In 1995, his 12-chapter work The Life and Times of Scrooge McDuck won the Eisner Award for Best Serialized Story.

Early life
Don Rosa's grandfather, Gioachino Rosa, lived in Maniago, a town at the foot of the Alps in Northern Italy, in the province of Pordenone. He immigrated to Kentucky, the United States, around 1900, established a successful tile and terrazzo company, then returned to Italy to marry and start a family. In 1915 just after the birth of his son Ugo Rosa, Gioachino returned to Kentucky with his wife, two daughters and two sons. Ugo Rosa grew up and was later married in Kentucky. His wife was born to a German-American father and a mother with both Scottish and Irish ancestry.

Don Rosa was born Keno Don Hugo Rosa on June 29, 1951, in Louisville, Kentucky. He was named after both his father and grandfather. Gioachino was called "Keno" for short. Don's father was named Ugo Dante Rosa but used the name "Hugo Don" Rosa in America.

Rosa's older sister, Deanna, was an avid collector of comics and exposed Don to comics as a storytelling medium at a very early age, teaching him to “read the pictures.”

Rosa's favorite comic books while growing up were Uncle Scrooge and Little Lulu comics from Dell Comics, as well as his sister's collection of MAD magazines. At age 12, Rosa discovered the Superman titles of DC Comics, with particular attention to editor Mort Weisinger's period, drawn mostly by Superman artists Curt Swan and Kurt Schaffenberger. Shortly after Rosa started to collect Superman comics, he also began to trade in the comics he had inherited from his older sister for old Superman comics. By the 1970s Rosa's comic trading had ended up with him only having two Barks duck comics issues left from the collection his sister originally passed on to him. One of them being Dell Comics' Four Color Comics #386 (also known as Dell Comics' One shot's) issue titled: "Uncle Scrooge in Only a Poor Old Man", which was unknown to him to be the first issue of the new Carl Barks Uncle Scrooge Title. The second issue is his other favorite Barks Comic from his youth, Dell's Donald Duck in "The Golden Helmet". Later when Rosa became a serious collector of all comics of the post-war years, he particularly enjoyed and collected the classic E.C. Comics of the horror and science fiction genres published in the early 1950s, Will Eisner's The Spirit, Walt Kelly's Pogo, and virtually all other comics from 1945 and onward.

Rosa entered the University of Kentucky in 1969. He graduated in 1973 with a Bachelor of Science degree in civil engineering.

Career
In 1969, while still in college, Rosa won an award as "best political cartoonist in the nation in a college paper". "I'm not really an editorial cartoonist. I'd much rather be doing comedy adventure. But I must have done something right, for at one point The Journal of Higher Education named me one of the five or six best college newspaper cartoonists in the nation."

Rosa's first published comic (besides the spot illustrations in his grade school and high school newspapers) was a comic strip featuring his own character, Lancelot Pertwillaby, titled The Pertwillaby Papers. He created the strip in 1971 for The Kentucky Kernel, a college newspaper of the University of Kentucky, which wanted the strip to focus on political satire.

Rosa later switched the strip to comedy-adventure, his favorite style of comics, and drew the story Lost in (an alternative section of) the Andes. (The title is a reference to Lost in the Andes!, a Donald Duck story by Carl Barks, first published in April 1949.) The so-called Pertwillaby Papers included 127 published episodes by the time Rosa graduated in 1973.

Meanwhile, Rosa participated in contributing art and articles to comic collector fanzines. One contribution was An Index of Uncle Scrooge Comics. According to his introduction: "Scrooge being my favorite character in comic history and Barks my favorite pure cartoonist, I'll try not to get carried away too much."

After attaining his bachelor's degree, Rosa continued to draw comics purely as a hobby, his only income came from working in the Keno Rosa Tile and Terrazzo Company, a company founded by his paternal grandfather.

Rosa authored and illustrated the monthly Information Center column in the fanzine Rocket's Blast Comicollector from 1974 to 1979. This was a question-and-answer feature dealing with readers' queries on all forms of pop entertainment of which Rosa was a student, including comics, TV and movies. He also revived the Pertwillaby Papers in this "RBCC" fanzine as a comic book style story rather than a newspaper comic strip from 1976 to 1978.

Rosa accepted an offer from the editor of the local newspaper to create a weekly comic strip. This led to his creation of the comic strip character Captain Kentucky for the Saturday edition of the local newspaper Louisville Times. Captain Kentucky was the superhero alter ego of Lancelot Pertwillaby. The pay was $25/week and not worth the 12+ hours each week's strip entailed, but Rosa did it as part of his hobby. Publication started on October 6, 1979. The comic strip ended on August 15, 1982, after the publication of 150 episodes. After three years with Captain Kentucky, Don decided that it was not worth the effort. He retired from cartooning and did not draw a single line for the next four years. Years later, as his fame grew, his non-Disney work was published by the Norwegian publisher Gazette Bok in 2001, in the two hard cover "Don Rosa Archives" volumes, The Pertwillaby Papers and The Adventures of Captain Kentucky.

Gladstone
In 1986, Rosa discovered a Gladstone Comics comic book. This was the first American comic book that contained Disney characters since Western Publishing's discontinuation of their Whitman Comics in the 1970s. Since early childhood Don Rosa had been fascinated by Carl Barks' stories about Donald Duck and Scrooge McDuck. He immediately called the editor, Byron Erickson, and told him that he was the only American who was born to write and draw one Scrooge McDuck adventure. Erickson agreed to let him send a story, and Don Rosa started drawing his first Duck story, "The Son of the Sun," the very next day.

"The Son of the Sun" was a success and Rosa's very first professional comic story was nominated for a Harvey Award "Best Story of the Year". The plot of the story was the same as his earlier story, Lost in (an alternative section of) the Andes. As Don Rosa explained it, he was just "(...) turning that old Pertwillaby Papers adventure back into the story it originally was in my head, starring Scrooge, Donald, the nephews, and Flintheart Glomgold."

Rosa created a few more comics for Gladstone until 1989. He then stopped working for them, because the policies of their licensor, Disney, did not allow for the return of original art for a story to its creators.

After making some stories for the Dutch publisher Oberon, the publishers of an American Disney children's magazine called DuckTales (based on the animated series of the same name) offered Rosa employment. They even offered him a much higher salary than the one he received at Gladstone. Rosa made just one script (Back in Time for a Dime). The publishers never asked him to make more, and due to problems with receiving the payment, he did not care.

Egmont
After working with the DuckTales magazine, Rosa found out that the Denmark-based International publisher Egmont (at that time called Gutenberghus) was publishing reprints of his stories and wanted more. Rosa joined Egmont in 1990. Two years later, at Rosa's suggestion, Byron Erickson, the former editor at Gladstone also went to work for Egmont and has been working there ever since as an editor and later as a freelancer.

In 1991 Rosa started creating The Life and Times of Scrooge McDuck, a 12 chapter story about his favorite character. The series was a success, and in 1995 he won an Eisner Award for best continuing series. After the end of the original series, Rosa sometimes produced additional "missing" chapters. Some of the extra chapters were turned down by Egmont, because they were not interested in any more episodes. Fortunately, the French magazine Picsou was eager to publish the stories. From 1999, Rosa started working freelance for Picsou magazine as well. All of these chapters were compiled as The Life and Times of Scrooge McDuck Companion.

On strike
During early summer 2002, Rosa suddenly laid down work. As an artist, he could not live under the conditions Egmont was offering him but he did not want to give up making Scrooge McDuck comics either. So, his only choice was to go on hiatus and try to come to an agreement with Egmont. His main issues were that he had no control over his works. Rosa had discovered too often that his stories were printed with incorrect pages of art, improper colors, poor lettering, or pixelated computer conversions of the illustrations. Rosa has never, nor has any other artist working on Disney-licensed characters, received royalties for the use or multi-national reprinting of any of his stories worldwide.

Rosa came to an agreement with Egmont in December of the same year, which gave him more control over the stories and the manner in which they were publicized.

Quitting
Rosa, who had poor eyesight since childhood, experienced a severe retinal detachment in March 2008, which required emergency eye surgery. However, the surgery was only partially successful, and Rosa had to undergo further surgery in both eyes, making drawing even more challenging. In an interview at the Danish Komiks.dk fair on June 2, 2008, Rosa announced his decision not to continue creating comics due to various reasons such as his eye troubles, low pay, and the use of his stories by international Disney licensees in special hardback or album editions without payment of royalties or permission for the use of his name.

In 2012, Rosa wrote an essay about his retirement for Egmont's 9-volume Don Rosa Collection, which was to be published in Finland, Norway, Germany and Sweden. The essay, posted at career-end.donrosa.de, cites the above reasons, with special emphasis on the "Disney comics system" for paying writers and artists a flat per-page rate, and then allowing publishers around the world to print the stories without payment to the creators.

Rosa is more popular with readers in Europe than in his native United States. According to him, even his next-door neighbors do not know his profession.

Personal life
In 1980, Rosa married Ann Payne. Payne is a retired social studies middle school teacher.

Character
Don Rosa describes himself as an introvert due to being socially isolated as a child. Also, he thinks of himself as a workaholic.

Rosa suffered from depression during the years before he quit. He believes that it was caused by working hard while taking little time for leisure, a result of his self-imposed work regimen due to his enthusiasm for Barks' characters.

Hobbies
Rosa is an avid collector of many things, including comic books, TV Guide, National Geographic, and movie magazines, fanzines, books, White Castle memorabilia, pinball machines and movies and more.

Rosa also grows exotic chili plants and tends nearly 30 acres of a private nature preserve with wildflower fields and numerous forest trails. That and taking semi-annual European signing tours to visit his fellow BarksDucks fans, takes up all of his time. He is also working to complete his collections of all American comic books published between 1945 and 1970.

Work
In Europe, Rosa is recognized as one of the best Disney comics creators. Carl Barks and Rosa are among the few artists who have their name written on the covers of Disney magazines when their stories are published. Rosa enjoys including subtle references to his favourite movies and comics as well as his own previous work. He normally uses about twelve panels per page, instead of the more common eight.

Rosa has an especially large following in Finland, and in 1999, he created a special 32-page adventure featuring Scrooge McDuck for his Finnish fans called; Sammon Salaisuus (translates to The secret of the Sampo, but it is officially named The Quest for Kalevala in English), based on the Finnish national epic, the Kalevala. The publication of this story created a national sensation in Finland where Donald Duck and the Kalevala are important aspects of culture. It was published in many other countries as well. The cover for the comic book was a spoof of a famous painting by Akseli Gallen-Kallela.

The latest work that Rosa has worked on is a cover for the album Music Inspired by the Life and Times of Scrooge by Tuomas Holopainen from Nightwish who is a fan of Rosa's comics.

Drawing style
With a Bachelor of Arts degree in civil engineering as his only real drawing education, Rosa has some unusual drawing methods, as he writes: "I suspect nothing I do is done the way anyone else does it."

Because of being self-taught in making comics, Rosa relies mostly on the skills he learned in engineering school, which means using technical pens and templates extensively. He applies templates and other engineering tools to draw what other artists draw freehand. He usually drew just under a page per day, but that depended on the amount of detail he puts in the picture.

Rosa's drawing style is considered much more detailed and "dirtier" than that of most Disney artists, living or dead, and often likened to that of underground artists, and he is frequently compared to Robert Crumb. When Rosa was first told of this similarity, he said that he "drew that bad" long before he discovered underground comics during college. He went on to explain these similarities to underground artists with a similar background of making comics as a hobby:

 * "I think that both my style and that of Robert Crumb are similar only because we both grew up making comics for our personal enjoyment, without ever taking drawing seriously, and without ever trying to attain a style that would please the average comics publisher. We drew comics for fun!"

Carl Barks
"'I want to take everything Barks wrote and forge it into a workable timeline. My original dream was to become the new Carl Barks. I wanted to write, draw, and letter all my own stories. People tell me that my pencils look just like Barks, but my inks are pure Rosa, and I can't letter properly! So I'll have to settle for being Don Rosa.' – Don Rosa in 1987"

"'Don Rosa has often been called the heir of Carl Barks, especially for the way in which he has carried on the Ducks' Family Saga. But I don't think so: in my opinion Don Rosa [...] is an author who has used Barks' characters to make stories that are completely new, 'Donrosian' rather than 'Barksian', just like Barks can't be considered the heir of Al Taliaferro only because he has worked on the Ducks after him.' – Carlo Chendi, Italian Disney comics writer"

Rosa's idol when it comes to comics is Carl Barks. Rosa builds almost all his stories on characters and locations that Barks invented. Many of Rosa's stories contain references to some fact pointed out in a Barks story. At the request of publishers in response to reader demands, Rosa has even created sequels of old Barks stories. For example, his Return to Plain Awful is a sequel to Lost in the Andes!, where the Ducks return to the same hidden country. To add more to his admiration and consistency to Barks and Barks' stories, Rosa makes all his ducks' stories set in the 1950s. This is because Barks writes most of the stories about Scrooge, Donald and all people of Duckburg in the 1950s (it also conveniently resolves potential continuity problems, such as Scrooge's age). As explained in text pages in the Life and Times of Scrooge McDuck and its companion volume, Rosa does intense research of time periods to ensure not only that he gets the physical details right, but also to ensure that all characters could have been present.

Barks either created most of the characters used by Rosa or is credited for greatly developing their personalities. Rosa thus feels obliged to make his stories factually consistent. He has spent a lot of time in making lists of facts and anecdotes pointed out in different stories by his mentor. Especially The Life and Times of Scrooge McDuck was based mostly on the earlier works of Barks. Rosa admitted however that a scene of the first chapter was inspired by a story by Tony Strobl.

As most of the characters Rosa uses were created by Barks, and because Rosa considers Scrooge rather than Donald to be the main character of the Duck universe, he does not regard himself as a pure Disney artist, nor the characters really as Disney's. "Rosa prefers to say that the characters he uses are Barks's, Barks having reshaped Donald Duck's personality and creating everything else we know of Duckburg while working as a freelancer in 1942–1967 for an independent licensed publisher (Dell/Western Comics). Barks even claimed to have also created Huey, Dewey, and Louie while working as a writer on Donald Duck animated cartoons in 1937." Because of his idolization of Barks, he repeatedly discourages his fans to use an absolutist way of saying his clearly different drawing style would be better than Barks's, and he found that notion confirmed when Barks himself spoke about Rosa's style in a critical tone though it is uncertain whether those comments were Barks's or those of his temporary "business managers" who filtered his communications.

"'I usually don't like my stories. I mean I try really hard, but I know I don't draw that well. I know people like it because it's got lots of extra details, but art directors know good artwork, and they know mine is not good artwork. Now, people always say, 'You're being too modest, you're being too modest', and I say, 'What?' They just have to ask me the right question. I know it's not good artwork and I don't know if it's well-drawn, but I know it's entertaining.' – Don Rosa, Torino Comics Festival, April 2011"

"'Don Rosa has a style that is a little bit different from the Disney style. I know that there is a great deal of people that like that style, which is extremely detailed. So, there is room in the business for artists like Don Rosa and for others like Van Horn. They have a different style. But if they have a good story and tell it properly, then people are going to like it.' – Carl Barks, interview given at Disneyland Paris, July 7, 1994"

Beside Rosa's constant effort to remain faithful to the universe Barks created, there is also a number of notable differences between the two artists. The most obvious of these is Rosa's much more detailed drawing style, often with many background gags, which has been credited as being a result of Rosa's love of the Will Elder stories of MAD comics and magazines. While Barks himself discouraged the use of extreme grimacing and gesturing in any other panel for comical or dramatic effect, Rosa's stories are rich with exaggerated facial expressions and physical slapstick. Barks had over 600 Duck stories to his name while Rosa only created 85 until his eye trouble set in, but whereas Barks made many short one and two-pagers centered around a subtle, compact gag, Rosa's oeuvre consists almost exclusively of long adventure stories.

Andrea "Bramo" Bramini identifies the following four differences between Barks's and Rosa's way of storytelling:
 * Rosa follows a very strict continuity, while Barks paid very little attention to continuity between stories.
 * Rosa's characterization of Scrooge is that of a much more sentimental person for often relishing his memories of past adventures.
 * Barks situated his stories in the present day of when he was creating them and had a penchant for satire. Rosa strictly writes stories taking place in an era at least half a century prior to their creation, and mostly abstains from any political or social commentary.
 * With his engineering degree, Rosa often goes to great lengths to give scientifically plausible explanations within his stories, whereas Barks never cared much for any detailed scientific rationalizations to his stories.

D.U.C.K.
Most of Rosa's stories have the letters D.U.C.K. hidden within either the first panel or, if Rosa has created the cover art, within the cover art itself. D.U.C.K. is a backronym for "Dedicated to Unca Carl from Keno" (Carl being Carl Barks and Keno being Rosa's given first name). Due to Disney's refusal to allow artists to sign their work, early Rosa dedications to Barks were deleted as they seemed to be a form of a signature. Later Rosa began hiding the dedication acronym from his editors in various and unlikely places within his drawings.

Rosa has drawn covers for reprints of Carl Barks stories and has included his D.U.C.K. dedication within them as well.

Mickey
Another curiosity is his Hidden Mickeys. Rosa is only interested in creating stories featuring the Duck family, but he often hides small Mickey Mouse heads or figures in the pictures, sometimes in a humiliating or unwanted situation. An example of this is in the story The Terror of the Transvaal where a flat Mickey can be seen under an elephant's foot. Rosa has admitted to neither liking nor disliking Mickey Mouse, but being indifferent to him.

In the story Attack of the Hideous Space-Varmints, the asteroid with Uncle Scrooge's money bin on it crashes into the Moon along with two missiles, creating a large Mickey Mouse head on the surface. When Huey, Dewey, and Louie tell Donald that the missiles hit the "dark" (far) side of the Moon, Donald is thankful no one is going to see it — "For a minute there, I thought we were going to have some legal problems."

In the second Rosa story featuring The Three Caballeros, Donald Duck is shocked by the sight of a capybara standing on its hind legs, with shrubs, leaves and fruit in front of its body, coincidentally making it look like Mickey Mouse. José Carioca and Panchito Pistoles, never having seen Mickey Mouse, ask Donald what is wrong, but Donald replies he is just tired. Later in the same story, the Caballeros free several animals from a poacher. One panel shows the animals fleeing; Mickey can be seen among them.

In The Quest for Kalevala this running gag can be seen on the original, Akseli Gallen-Kallela-inspired cover art. In the original work, Louhi is depicted as bare-chested, but the Disneyfied version has been drawn a top, of fabric patterned with Mickey Mouse heads.

Awards
His work has won Rosa a great deal of recognition in the industry, including nominations for the Comics' Buyer's Guide Award for Favorite Writer in 1997, 1998, and 1999. Heidi MacDonald of Comics Buyer's Guide also mentioned Rosa's 1994 story Guardians of the Lost Library as "possibly the greatest comic book story of all time".

In 1995, Rosa was awarded the Eisner Award for Best Serialized Story for The Life and Times of Scrooge McDuck. In 1997 he won an Eisner for Best Artist/Writer – Humor Category. He was awarded the Inkpot Award in 2014.

Rosa's story The Black Knight GLORPS Again! was nominated for the 2007 Eisner Award in the category Best Short Story. While The Prisoner of White Agony Creek, Rosa's latest Duck story to-date, was published in 2006, he was also nominated for the 2007 Harvey Awards in five categories (more than any other creator was that year) for his Uncle Scrooge comics: "Best Writer", "Best Artist", "Best Cartoonist", "Best Cover Artist", and "Special Award for Humor in Comics." In 2013 Rosa received the Bill Finger Award which recognizes excellence in comic book writing for writers who have not received their rightful reward and/or recognition.

International "Best Cartoonist of the Year" awards include:
 * Germany: International Grand Prize 2005 (Frankfurt Book Fair).
 * Denmark: ORLA Award (DR Television Network).
 * Sweden:
 * Svenska Serieakademins (Swedish Comics Academy).
 * Seriefrämjandets Unghunden (Swedish Comics Association).
 * Norway: Sproing Award (Norsk Tegneserieforum / Norwegian Comics Forum).
 * Italy:
 * Yambo Award (Lucca Comics Festival).
 * Premio U Giancu Award (U Giancu & Rapallo Comics Festival).
 * Spain: Haxtur Award (Gijon Comics Festival).

Biographies
In 1997 the Italian publishing house Editrice ComicArt published a lavish volume about Rosa's biography and work related to the Disney characters. It was titled Don Rosa e il Rinascimento Disneyano ("Don Rosa and the Disneyean Renaissance") and written by famous Disney and Rosa scholars, Alberto Becattini, Leonardo Gori and Francesco Stajano. This work not only discusses all of Rosa's creative life up to 1997, but it also gives a comprehensive biography, lists up to that date his Disney work and presents an extensive interview with Rosa.

In 2009, Danish director Sebastian S. Cordes shot a 75-minute documentary called The Life and Times of Don Rosa, consisting of exclusive interviews with Rosa himself on his farm near Louisville, Kentucky. According to the project's Facebook group, the English-language DVD was released in Denmark on April 16, 2011.

In 2011, Italian Disney fan forum papersera.net published Don Rosa: A Little Something Special (edited by Italian Rosa fan Paolo Castagno), a large folio format, bilingual (Italian and English) book about Rosa's life and work, containing interviews with Rosa and articles by many Italian and European Disney artists, Disney scholars, and established art critics commenting on Rosa's work and career, also including many exclusive, rare Rosa drawings and illustrations. The book was originally made as a gift by papersera.net for Rosa himself upon the occasion of Rosa's April 2011 visit to Turin, Italy.

In 2017 the book, I Still Get Chills!, featuring text by German journalist Alex Jakubowski and photographs by Lois Lammerhuber, was published by Edition Lammerhuber in honour of Rosa's 66th birthday and the 70th anniversary of the first appearance of Scrooge McDuck.

A feature documentary about Don Rosa and Scrooge McDuck by French director Morgann Gicquel titled The Scrooge Mystery was released in December 2017 and was released on DVD and Blu-ray in 2018.

United States

 * The Don Rosa Classics — The Pertwillaby Papers
 * The Don Rosa Classics — The Adventures of Captain Kentucky
 * The Don Rosa Classics — The Early (So-Called) Art of Don Rosa
 * The Don Rosa Library of Uncle Scrooge Adventures in Color Vols. 1–8
 * The Life and Times of Scrooge McDuck
 * The Life and Times of Scrooge McDuck Companion
 * The Barks/Rosa Collection Vols. 1–3
 * Walt Disney Treasury: Donald Duck Vols. 1–2
 * Uncle Scrooge and Donald Duck: The Don Rosa Library Vols. 1–10
 * Don Rosa's The Life and Times of Scrooge McDuck: Artist's Edition Vols. 1–2
 * The Complete Life and Times of Scrooge McDuck Vols. 1–2

Other countries
Apart from the Don Rosa Collection in Germany and Don Rosas Samlade/Samlede Verk and Don Rosan kootut in the Nordic nations, the following collections only contain Rosa's work for Disney.

title: Don Rosa


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Dziga Vertov

Dziga Vertov (Дзига Вертов, born David Abelevich Kaufman, Дави́д А́белевич Ка́уфман, and also known as Denis Kaufman; 2 January 1896 – 12 February 1954) was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman.

In the 2012 Sight & Sound poll, critics voted Vertov's Man with a Movie Camera (1929) the eighth-greatest film ever made.

Vertov's younger brothers Boris Kaufman and Mikhail Kaufman were also noted filmmakers, as was his wife, Yelizaveta Svilova.

Early years
Vertov was born David Abelevich Kaufman into a Jewish family in Białystok, Poland, then a part of the Russian Empire. He Russified his Jewish name and patronymic, David Abelevich, to Denis Arkadievich at some point after 1918. Vertov studied music at Białystok Conservatory until his family fled from the invading German Army to Moscow in 1915. The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction, and satire. In 1916–1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'.

Early writings
Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye".

Most of Vertov's early work was unpublished, and few manuscripts survived after the Second World War, though some material surfaced in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman.

Vertov is known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences).

After the October Revolution
After the Bolshevik Revolution of 1917, at the age of 22, Vertov began editing for Kino-Nedelya (Кино-Неделя, the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia), which first came out in June 1918. While working for Kino-Nedelya he met his future wife, the film director and editor, Elizaveta Svilova, who at the time was working as an editor at Goskino. She began collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as Man with a Movie Camera (1929), and Three Songs About Lenin (1934).

Vertov worked on the Kino-Nedelya series for three years, helping establish and run a film-car on Mikhail Kalinin's agit-train during the ongoing Russian Civil War between Communists and counterrevolutionaries. Some of the cars on the agit-trains were equipped with actors for live performances or printing presses; Vertov's had equipment to shoot, develop, edit, and project film. The trains went to battlefronts on agitation-propaganda missions intended primarily to bolster the morale of the troops; they were also intended to stir up revolutionary fervor of the masses.

In 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution; he also supervised the filming of his project The Battle for Tsaritsyn (1919). in 1921 he compiled History of the Civil War. The so-called "Council of Three," a group issuing manifestoes in LEF, a radical Russian newsmagazine, was established in 1922; the group's "three" were Vertov, his (future) wife and editor Elizaveta Svilova, and his brother and cinematographer Mikhail Kaufman. Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema.

His statement "We: Variant of a Manifesto" was published in the first issue of Kino-Fot, published by Aleksei Gan in 1922. It commenced with a distinction between "kinoks" and other approaches to the emergent cinematic industry:
 * "We call ourselves kinoks – as opposed to "cinematographers", a herd of junkmen doing rather well peddling their rags.
 * We see no connection between true kinochestvo and the cunning and calculation of the profiteers.
 * We consider the psychological Russo-German film-drama – weighed down with apparitions and childhood memories – an absurdity."

Kino-Pravda
In 1922, the year that Nanook of the North was released, Vertov started the Kino-Pravda series. The series took its title from the official government newspaper Pravda. "Kino-Pravda" (literally translated, "film truth") continued Vertov's agit-prop bent. "The Kino-Pravda group began its work in a basement in the centre of Moscow", Vertov explained. He called it damp and dark. There was an earthen floor and holes one stumbled into at every turn. Vertov said, "This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers.

Vertov's driving vision, expounded in his frequent essays, was to capture "film truth"—that is, fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye. In the Kino-Pravda series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first. Usually, the episodes of Kino-Pravda did not include reenactments or stagings. (One exception is the segment about the trial of the Social Revolutionaries: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera.) The cinematography is simple, functional, unelaborate—perhaps a result of Vertov's disinterest in both "beauty" and the "grandeur of fiction". Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. The stories were typically descriptive, not narrative, and included vignettes and exposés, showing for instance the renovation of a trolley system, the organization of farmers into communes, and the trial of Social Revolutionaries; one story shows starvation in the nascent Communist state. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the Tsar's tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front".

Vertov clearly intended an active relationship with his audience in the series—in the final segment he includes contact information—but by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane". Vertov responded to their criticisms with the assertion that the critics were hacks nipping "revolutionary effort" in the bud, and concluded an essay with a promise to "explode art's tower of Babel". In Vertov's view, "art's tower of Babel" was the subservience of cinematic technique to narrative—what film theorist Noël Burch terms the institutional mode of representation—which would come to dominate the classical Hollywood cinema.

By this point in his career, Vertov was clearly and emphatically dissatisfied with narrative tradition, and expresses his hostility towards dramatic fiction of any kind both openly and repeatedly; he regarded drama as another "opiate of the masses". Vertov freely admitted one criticism leveled at his efforts on the Kino-Pravda series—that the series, while influential, had a limited release.

By the end of the Kino-Pravda series, Vertov made liberal use of stop motion, freeze frames, and other cinematic "artificialities", giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique. Vertov explains himself in "On 'Kinopravda' ": in editing "chance film clippings" together for the Kino-Nedelia series, he "began to doubt the necessity of a literary connection between individual visual elements spliced together.... This work served as the point of departure for 'Kinopravda' ". Towards the end of the same essay, Vertov mentions an upcoming project which seems likely to be Man with a Movie Camera (1929), calling it an "experimental film" made without a scenario; just three paragraphs above, Vertov mentions a scene from Kino Pravda which should be quite familiar to viewers of Man with the Movie Camera: the peasant works, and so does the urban woman, and so too, the woman film editor selecting the negative... "

Man with a Movie Camera
With Lenin's admission of limited private enterprise through the New Economic Policy (NEP) of 1921, Russia began receiving fiction films from afar, an occurrence that Vertov regarded with undeniable suspicion, calling drama a "corrupting influence" on the proletarian sensibility ("On 'Kinopravda' ", 1924). By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin (1925). Potemkin was a heavily fictionalized film telling the story of a mutiny on a battleship which came about as a result of the sailors' mistreatment; the film was an obvious but skillful propaganda piece glorifying the proletariat. Vertov lost his job at Sovkino in January 1927, possibly as a result of criticizing a film which effectively preaches the line of the Communist Party. He was fired for making A Sixth Part of the World: Advertising and the Soviet Universe for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy.

The Ukraine State Studio hired Vertov to create Man with a Movie Camera. Vertov says in his essay "The Man with a Movie Camera" that he was fighting "for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature". By the later segments of Kino-Pravda, Vertov was experimenting heavily, looking to abandon what he considered film clichés (and receiving criticism for it); his experimentation was even more pronounced and dramatic by the time of Man with a Movie Camera, which was filmed in Ukraine. Some have criticized the obvious stagings in this film as being at odds with Vertov's creed of "life as it is" and "life caught unawares": the scene of the woman getting out of bed and getting dressed is obviously staged, as is the reversed shot of the chess pieces being pushed off a chess board and the tracking shot that films Mikhail Kaufman riding in a car filming a third car.

However, Vertov's two credos, often used interchangeably, are in fact distinct, as Yuri Tsivian comments in the commentary track on the DVD for Man with the Movie Camera: for Vertov, "life as it is" means to record life as it would be without the camera present. "Life caught unawares" means to record life when surprised, and perhaps provoked, by the presence of a camera. This explanation contradicts the common assumption that for Vertov "life caught unawares" meant "life caught unaware of the camera". All of these shots might conform to Vertov's credo "caught unawares". His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. It was to be the honest truth of perception. For example, in Man with a Movie Camera, two trains are shown almost melting into each other. Although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains. Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein "came from the theatre, in the theatre one directs dramas, one strings beads". "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism", Mikhail explained. More than even film truth, Man with a Movie Camera was supposed to be a way to make those in the Soviet Union more efficient in their actions. He slowed down his movements, such as the decision whether to jump or not. You can see the decision in his face, a psychological dissection for the audience. He wanted a peace between the actions of man and the actions of a machine, for them to be, in a sense, one.

Cine-Eye
"Cine-Eye" is a montage method developed by Dziga Vertov and first formulated in his work "WE: Variant of a Manifesto" in 1919.

Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: "In the face of the machine we are ashamed of man's inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people [...]" As he put it in a 1923 credo, "I am the Cine-Eye. I am the mechanical eye. I the machine show you the world as only I can see it. I emancipate myself henceforth and forever from human immobility. I am in constant motion... My path leads towards the creation of a fresh perception of the world. I can thus decipher a world that you do not know."

Like other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the Soviet Union. Whereas Sergei Eisenstein viewed his montage of attractions as a creative tool through which the film-viewing masses could be subjected to "emotional and psychological influence" and therefore able to perceive "the ideological aspect" of the films they were watching, Vertov believed the Cine-Eye would influence the actual evolution of man, "from a bumbling citizen through the poetry of the machine to the perfect electric man".

Vertov surrounded himself with others who were also firm believers in his ideas. These were the Kinoks, other Russian filmmakers who would assist him in his hopes of making "cine-eye" a success.

Vertov believed film was too "romantic" and "theatricalised" due to the influence of literature, theater, and music, and that these psychological film-dramas "prevent man from being as precise as a stopwatch and hamper his desire for kinship with the machine". He desired to move away from "the pre-Revolutionary 'fictional' models" of filmmaking to one based on the rhythm of machines, seeking to "bring creative joy to all mechanical labour" and to "bring men closer to machines".

In May 1927 Vertov moved to Ukraine, and the Cine-Eye movement broke up.

Late career
Vertov's successful career continued into the 1930s. Enthusiasm: Symphony of the Donbass (1931), an examination into Soviet miners, has been called a 'sound film', with sound recorded on location, and these mechanical sounds woven together, producing a symphony-like effect. Many Soviet critics did not receive the film positively, but critics abroad lauded its sonic experimentation.

Three years later, Three Songs About Lenin (1934) looked at the revolution through the eyes of the Russian peasantry. For his film, Vertov had been hired by Mezhrabpomfilm. The film, finished in January 1934 for Lenin's obit, was only publicly released in the Soviet Union in November of that year. From July 1934 it was shown at private screenings to various high-ranking Soviet officials and also to prominent foreigners including H. G. Wells, William Bullitt, and others, and it was screened at the Venice Film Festival in August 1934. A new version of the film was released in 1938, including a longer sequence to reflect Stalin's achievements at the end of the film and leaving out footage of "enemies" of that time. Today there exists a 1970 reconstruction by Yelizaveta Svilova. With the rise and official sanction of socialist realism in 1934, Vertov was forced to cut his personal artistic output significantly, eventually becoming little more than an editor for Soviet newsreels. Lullaby, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937.

Dziga Vertov died of cancer in Moscow in 1954.

Family
Vertov's brother Boris Kaufman was a cinematographer who worked with Jean Vigo on L'Atalante (1934) and much later for directors such as Elia Kazan in the United States who won an Oscar for his work on On the Waterfront. His other brother, Mikhail Kaufman, worked with Vertov on his films until he became a documentarian in his own right. Mikhail Kaufman's directorial debut was the film In Spring (1929).

In 1923, Vertov married his long-time collaborator Elizaveta Svilova.

Influence and legacy
Vertov's legacy still lives on today. His ideas are echoed in cinéma vérité, the movement of the 1960s named after Vertov's Kino-Pravda. The 1960s and 1970s saw an international revival of interest in Vertov.

The independent, exploratory style of Vertov influenced and inspired many filmmakers and directors like the Situationist Guy Debord and independent companies such as Vertov Industries in Hawaii. The Dziga Vertov Group borrowed his name. In 1960, Jean Rouch used Vertov's filming theory when making Chronicle of a Summer. His partner Edgar Morin coined the term cinéma vérité when describing the style, using direct translation of Vertov's KinoPravda.

The Free Cinema movement in the United Kingdom during the 1950s, the Direct Cinema in North America in the late 1950s and early 1960s, and the Candid Eye series in Canada in the 1950s all essentially owed a debt to Vertov.

This revival of Vertov's legacy included rehabilitation of his reputation in the Soviet Union, with retrospectives of his films, biographical works, and writings. In 1962, the first Soviet monograph on Vertov was published, followed by another collection, "Dziga Vertov: Articles, Diaries, Projects". In 1984, to recall the 30th anniversary of Vertov's death, three New York cultural organizations put on the first American retrospective of Vertov's work.

New Media theorist Lev Manovich suggested Vertov as one of the early pioneers of database cinema genre in his essay Database as a symbolic form.

Vertov's work has inspired notable artist and filmmaker William Kentridge.

Filmography

 * 1918 Кинонеделя (Kino Nedelya/Cinema Week)
 * 1918 Годовщина революции (Anniversary of the Revolution)
 * 1921 История гражданской войны (History of the Civil War)
 * 1922 Киноправда (Kino-Pravda)
 * 1924 Советские игрушки (Soviet Toys)
 * 1924 Кино-глаз (Kino-Eye), cameraman Ilya Kopalin
 * 1926 Шестая часть мира (A Sixth Part of the World)
 * 1926 Шагай, Совет! (Stride, Soviet!)
 * 1928 Одиннадцатый (The Eleventh Year)
 * 1929 Человек с киноаппаратом (Man with a Movie Camera)
 * 1931 Энтузиазм (Симфония Донбаса) (Enthusiasm)
 * 1934 Три песни о Ленине (Three Songs About Lenin)
 * 1937 Памяти Серго Орджоникидзе (In Memory of Sergo Ordzhonikidze)
 * 1937 Колыбельная (Lullaby)
 * 1938 Три героини (Three Heroines)
 * 1942 Казахстан – фронту! (Kazakhstan for the Front!)
 * 1944 В горах Ала-Тау (In the Mountains of Ala-Tau)
 * 1954 Новости дня (News of the Day)

Lost films
Some early Vertov's films were lost for many years. Only 12 minutes of his 1918 Anniversary of the Revolution were known; in 2018 Russian film historian Nikolai Izvolov found lost film in the Russian State Documentary Film & Photo Archive and restored it. In 2022 he reconstructed another lost film, 1921 The History of the Civil War using archive materials.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Dziga Vertov


text:
Talk:Dziga Vertov

Comment
Well so obviously (if I may say so) this article still needs some work. Currently it has the bio up until about 1929, because the perceived conflict between Vertov's theory of work, his political writings, and The Man With The Movie Camera was the topic of my paper; I'll go back and find out what happened in the next 15 years of his life and add in a summary of that. But if someone here knows about it, why not go ahead and add it?  --Koyaanis Qatsi
 * Update:
 * I've been unable to find anything on the rest of Vertov's life. I think that, without having Vertov's collected writings to lean on, I won't find anything about it.  --KQ

Old talk
My additions here are primarily biographical, since I know little of documentaries or film. Interesting note, however: brother of Boris Kaufman (On the Waterfront). Atorpen 23:39 Jan 25, 2003 (UTC)
 * Yes, interesting, huh? ... Of course, anyone who works with Lumet goes up a few notches in my book.  Koyaanis Qatsi

More old talk
Would a reference to his later appropriation by Godard and Gorin be useful? Deleuze 00:25, 15 May 2005 (UTC)

Mistakes
Well, this article is catastrophically ridden with mistakes and lacunae. Check out Tsivian's intro to his "Lines of Resistance" for something better. Otiuqok (talk) 02:28, 1 August 2008 (UTC)

Biography assessment rating comment
Although the article received a B rating, the article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. Also, the references should be linked to the text of the article such as by using footnotes. -- Jreferee 18:57, 6 June 2007 (UTC)

deleted image
An image from 1934 film Three Songs About Lenin has been deleted. This might be fair use on an article about the film, or that film could be PD by now. John Vandenberg (talk) 06:05, 27 February 2008 (UTC)

debord
Is there any proof that Debord was influenced by Vertov? His films are totally unlike Vertov's. Otiuqok (talk) 02:20, 1 August 2008 (UTC)

Isnt he DENIS Kaufman??
Not David. Denis! —Preceding unsigned comment added by 193.151.115.9 (talk) 17:52, 18 August 2009 (UTC)

If it is Denis then change the cyrillic as well. It says Denis in english letters and David in cyrillic. —Preceding unsigned comment added by 74.210.30.67 (talk) 02:43, 3 October 2009 (UTC)

DAVID ABELEVICH KAUFMAN. See V. Magidov, "Iz arkhiva Vertova." He later used the name "Denis Arkadievich," but was born "David Abelevich." — Preceding unsigned comment added by Otiuqok (talk • contribs) 00:23, 27 May 2012 (UTC)

Koyaanisqatsi?
Seems very similar to Man with a Movie Camera. Just wondering what text there was on that. --Dan|(talk) 07:50, 23 October 2009 (UTC)

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Vertov a cinematographer?
I noticed that Vertov has been added to, however in his 1922 text WE: VARIANT OF A MANIFESTO, published in Kino-Fot, Issue 1 he specifically rejects the appellation "cinematographer" which he regards as referring to ", a herd of junkmen doing rather well peddling their rags" motivated by the " the cunning and calculation of the profiteers." I would suggest we remove this category, unless someone can come up with evidence that he subsequently shifted his opinion in this matter. Leutha (talk) 14:36, 13 February 2019 (UTC)

Contradictions
There are contrarictions inside the article. For instance, it says that Vertov lost his position because he critizised a film. The very next phrase says he lost that position because of a film he made. 83.32.27.150 (talk) 14:54, 15 April 2020 (UTC)

title: Talk:Dziga Vertov


text:
Deimos

Deimos, a Greek word for dread, may refer to:

In general

 * Deimos (deity), one of the sons of Ares and Aphrodite in Greek mythology
 * Deimos (moon), the smaller and outermost of Mars' two natural satellites

Fictional characters

 * Deimos (comics), villain for the Warlord comic series
 * Deimos, the brother of Kratos in the God of War series
 * Deimos, the identity of an antagonistic character from the 2018 video game Assassin's Creed Odyssey

Transportation and vehicles

 * Elecnor Deimos, a Spanish aerospace company
 * Deimos-1, an artificial Earth observation satellite
 * Deimos-2, an artificial Earth observation satellite
 * SpaceX Deimos, a floating Starship launch and landing platform
 * USS Deimos, a U.S. Navy shipname
 * USS Deimos, a ship in the US Navy in World War II

Other uses

 * DEIMOS, an early message passing OS for the Cray-1, replaced by the Cray Time Sharing System
 * Deimos (Doctor Who audio), an audio drama

title: Deimos


text:
Delaware General Corporation Law

The Delaware General Corporation Law (Title 8, Chapter 1 of the Delaware Code) is the statute of the Delaware Code that governs corporate law in the U.S. state of Delaware. The statute was adopted in 1899. Since then, Delaware has become the most prevalent jurisdiction in United States corporate law and has been described as the de facto corporate capital of the United States.

Delaware is considered a corporate haven because of its business-friendly corporate laws compared to most other U.S. states. 66% of the Fortune 500, including Walmart and Apple (two of the world's largest companies by revenue) are incorporated (and therefore have their domiciles for service of process purposes) in the state. Over half of all publicly traded corporations listed in the New York Stock Exchange (including its owner, Intercontinental Exchange) are incorporated in Delaware.

The statute has been credited with reducing the tax burdens on Delaware residents as revenues from the statute provide two-fifths of the state's budget, but has been controversial for facilitating tax dodging and money laundering by major corporations, as well as providing safe haven to money launderers, kleptocratic foreign rulers, and human traffickers.

History
Delaware acquired its status as a corporate haven in the early 20th century. Following the example of New Jersey, which enacted corporate-friendly laws at the end of the 19th century to attract businesses from New York, Delaware adopted on March 10, 1899, a general incorporation act aimed at attracting more businesses. The group that pushed for this legislation intended to establish a corporation that would sell services to other businesses incorporating in Delaware. Before the rise of general incorporation acts, forming a corporation required a special act of the state legislature. General incorporation allowed anyone to form a corporation by simply raising money and filing articles of incorporation with the state's Secretary of State.

Other legal aspects
Because of the extensive experience of the Delaware courts, Delaware has a more well-developed body of case law than other states, which serves to give corporations and their counsel greater guidance on matters of corporate governance and transaction liability issues. Disputes over the internal affairs of Delaware corporations are usually filed in the Delaware Court of Chancery, which is a separate court of equity, as opposed to a court of law. Because it is a court of equity, there are no juries; its cases are heard by judges, called chancellors. Since 2018, the court has consisted of one chancellor and six vice-chancellors. The court is a trial court, with one chancellor hearing each case. Litigants may appeal final decisions of the Court of Chancery to the Delaware Supreme Court.

Delaware has also attracted major credit card banks because of its relaxed rules regarding interest. Many U.S. states have usury laws limiting the amount of interest a lender can charge. Federal law allows a national bank to "import" these laws from the state in which its principal office is located. Delaware (among others) has relatively relaxed interest laws, so several national banks have decided to locate their principal office in Delaware. National banks are, however, corporations formed under federal law, not Delaware law. A corporation formed under Delaware state law benefits from the relaxed interest rules to the extent it conducts business in Delaware, but is subject to restrictions of other states' laws if it conducts business in other states.

Pursuant to the "internal affairs doctrine", corporations which act in more than one state are subject only to the laws of their state of incorporation with regard to the regulation of the internal affairs of the corporation. As a result, Delaware corporations are subject almost exclusively to Delaware law, even when they do business in other states.

While most states require a for-profit corporation to have at least one director and two officers, Delaware laws do not have this restriction. All offices may be held by a single person who also can be the sole shareholder. The person, who does not need to be a U.S. citizen or resident, may also operate anonymously with only the listing agent through whom the company is registered named.

Tax benefits and burdens
Delaware charges no income tax on corporations not operating within the state, so taking advantage of Delaware's other benefits does not result in taxation. At the same time, Delaware has a particularly aggressive tax on banks that locate in the state. However, in general, the state is viewed as a positive location for corporate tax purposes because favorable laws of incorporation allow companies to minimize corporate expenditures (achieved through legal standardization of corporate legal processes), creating a nucleus in Delaware with operating companies often in other states.

In addition, Delaware has used its position as the state of incorporation to generate revenue from its abandoned and unclaimed property laws. Under U.S. Supreme Court precedent, the state of incorporation gets to keep any abandoned and unclaimed property, such as uncashed checks and unredeemed gift certificates, if the corporation does not have information about the location of the owner of the property. Abandoned property provides Delaware with about half a billion dollars annually.

Delaware charges a franchise tax on the corporations incorporated in it. Franchise taxes in Delaware are higher than in most other states which typically get revenue from corporate income taxes on the portion of the corporation's business done in that state. Delaware's franchise taxes supply about one-fifth of its state revenue.

In February 2013, The Economist published an article on tax-friendly jurisdictions, commenting that Delaware stood for "Dollars and Euros Laundered And Washed At Reasonable Expense". Jeffrey W. Bullock, Delaware's Secretary of State, insists that the state has struck the right balance between curbing criminality and "paying deference to the millions of legitimate businesspeople who benefit" from hassle-free incorporation.

2013 amendments
On June 30, 2013, Delaware Governor Jack Markell signed amendments to the Delaware General Corporation Law. The new legislation took effect on August 1, 2013, except for the ratification of the defective corporate acts amendment which took effect in 2014.

Securities law
In 2020, the Delaware Supreme Court upheld a provision allowing companies to require in their certificates of incorporation all Securities Act of 1933 claims to be filed in federal court.

DGCL 203 is particularly known as an antitakeover law.

title: Delaware General Corporation Law