Abstract
It is established in the literature that touristic images of the Orient are grounded in Occidental authority and dominant global power relations. Scholars have suggested that indigenous image creators in the Middle East continue to read from an Occidental script, perpetuating oppositional perspectives of us and them, the familiar and the strange, the dynamic and the atrophied – fuelling the development of neo-Orientalist tourist sites/sights. This paper explores the extent to which such scripting continues to persist in official representations of rentier states in the Arabian Peninsula. Through a critical discourse analysis of the Omani tourism promotional film Welcome to My Country, it is suggested that when Oman speaks for itself within a Western discourse of tourism promotion, what results is a form of self-Orientalism.
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