{"id":23844,"date":"2023-02-28T04:55:49","date_gmt":"2023-02-28T04:55:49","guid":{"rendered":"https:\/\/redseafilmfest.com\/?page_id=23844"},"modified":"2023-03-02T11:28:45","modified_gmt":"2023-03-02T11:28:45","slug":"al-ula-cinema-week-digital-experience","status":"publish","type":"page","link":"https:\/\/redseafilmfest.com\/en\/al-ula-cinema-week-digital-experience\/","title":{"rendered":"Al Ula Cinema Week – Digital Experience"},"content":{"rendered":"\t\t
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Faten Hamama<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1931-2015<\/strong><\/span><\/p>

The Lady of the Arab Screen<\/strong><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Faten Hamama is considered one of the most influential actresses in Arab cinema, active during some of the most prominent developments and transformations that affected the landscape of Egyptian cinema throughout different eras, and having contributed to formulating a new profound role for women.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Faten Hamama\u2019s portfolio of films boasts a wealth of works that shaped the history of Egyptian cinema with many prominent directors, including her roles in \u201cThe Nightingale’s Prayer\u201d (1959) by Henry Barakat; \u201cThe Blazing Sun\u201d (1954) by Youssef Chahine; \u201cEmpire M\u201d (1972) by Hussein Kamal; and \u201cA Bitter Day and a Sweet Day\u201d (1988) by Khairy Bishara.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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In 1996, the Egyptian cinema celebrated its 100th anniversary, where Faten Hamama was dubbed Best Actress, and nine of her films were included in the iconic list naming the 100 best films in the history of Egyptian cinema. In the year 2000, the Egyptian Film Writers and Critics Association awarded Hamama the Star of the Century Award.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Umm Kulthum<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1898-1975<\/strong><\/span><\/p>

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Umm Kulthum is considered one of the most prominent and leading symbols of Arab culture, with a rare voice that resonated through Egypt and echoed through the entire Arab world. Umm Kulthum\u2019s rich history extends beyond music and into the big screen, through which she contributed to shaping a fresh, powerful image of independent women.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Umm Kulthum starred in several cinematic works that contributed to shaping the musical film industry in Egypt, ushering in its golden age. They include “Weddad ” (1936) by Fritz Kramp, as well as repeated collaborations with director Ahmed Badrakhan in \u201cDinars\u201d (1939), \u201cAida\u201d (1942), and \u201cFatima\u201d (1947).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The presence of superstar Umm Kulthum on the big screen represented an edge, magnetically pulling the masses to flock to cinemas for her films. Her special performance style, impeccably marrying melodies, songs, and acting, rendered her talent a special treat for the audiences.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Leila Mourad<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1918-1995<\/strong><\/span><\/p>

The Voice of Love in Song and Film<\/strong><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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While Leila Mourad is considered one of the most important voices in Arabic singing, the big screen kept her within a wonderful balance with her performances in some of the most outstanding drama and romance films during the golden age of Egyptian cinema. Her exceptional singing talent, combined with her remarkable acting presence, helped her etch her name among the stars.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Leila Mourad launched into stardom in Egyptian cinema through \u201cLong Live the Love\u201d (1938), co-starring alongside the Musician of Generations, Mohamed Abdel-Wahab. Since then, her acting credits abound with fruitful cooperations with several directors in iconic works, including \u201cMy Heart is My Guide\u201d (1947) by Anwar Wagdi; \u201cThe Lady of the Train\u201d (1952) by Youssef Chahine; and \u201cThe Beach of Love\u201d (1950) Henry Barakat.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Despite her early retirement from singing and acting in the mid-fifties of the last century, Leila Mourad\u2019s lyrical and cinematic credits are still preserved and rediscovered, again and again, keeping her perpetually alive in our minds as one of the most prominent Arab female talents on stage and on the silver screen.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1939-2012<\/strong><\/span><\/p>

A Tale With Time<\/strong><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Warda Al-Jazairia is a legend of Arabic singing, thanks to her powerful on-stage presence, melodious singing voice, and delivery rich with emotion. Her impressive legacy was not limited to the stage, but extended to the big screen as well.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Warda starred in six cinematic works, most notably: \u201cAlmaz and Abdu Al-Hamuli\u201d (1962), \u201cPrincess of the Arabs\u201d (1963) alongside Rushdy Abaza and Fouad El-Mohandes, \u201cThe Voice of Love\u201d (1973) with Hassan Youssef and Imad Hamdi, and \u201cMy Story With Time” (1974) again with Rushdy Abaza.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Throughout her career, Warda released over 300 songs, sold more than 100 million albums in the Arab world and globally, and collaborated with some of the most leading musicians, earning her spot as one of the most prominent icons of Arab art.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1927-2014<\/strong><\/span><\/p>

El Shahroura<\/strong><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Sabah is one of the pillars of the Arabic song, having left behind a great cinematic and theatrical legacy that immortalizes her in the realm of the arts throughout history, with an exceptional talent in both acting and singing.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Sabah\u2019s participation in Egyptian cinema came with several works, including \u201cThe Second Man\u201d (1959), \u201cLove Like This\u201d (1961), \u201cSoft Hands\u201d (1963), and \u201cThree Women\u201d (1968). She starred alongside some of the most prominent stars, including Salah Zulfikar, Rushdy Abaza, and Farid Shawqi.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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El Shahroura\u2019s credits boast more than 87 films, both Egyptian and Lebanese; 27 Lebanese plays; and more than 3,500 songs released in Egyptian, Lebanese and other languages and dialects. Having spent most of her days in the limelight, Sabah never actually left, not even after her passing.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1931-2015 The Lady of the Arab Screen Highlight IN CINEMA Faten Hamama is considered one of the most influential actresses in Arab cinema, active during some of the most prominent developments and transformations that affected the landscape of Egyptian cinema throughout different eras, and having contributed to formulating a new profound role for women. Most […]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-23844","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/pages\/23844","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/comments?post=23844"}],"version-history":[{"count":146,"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/pages\/23844\/revisions"}],"predecessor-version":[{"id":24212,"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/pages\/23844\/revisions\/24212"}],"wp:attachment":[{"href":"https:\/\/redseafilmfest.com\/en\/wp-json\/wp\/v2\/media?parent=23844"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}