Hollywood’s depiction of the Middle East Orient has faced increasing scrutiny, yet analysis generally privileges visual and textual elements over sound. However, sound plays a significant role in the audience’s intuitive understanding of a film’s spatial and temporal locality within the context of their own surroundings. Sound design can illuminate underlying biases, and illustrate how media can continue to perpetuate cultural stereotypes on a subconscious level. ThE Mummy franchise provides a chance to analyze the role sound plays in our evolving perception of the Orient over time. Its many iterations, sequels, and reboots over the past century, along with its continuing cultural pervasiveness in popular culture, give plentiful landmarks along which we can observe change in Hollywood’s conception of the Orient. There are two major sections to this analysis: diegetic and non-diegetic soundscapes. For former, the in-universe background noises of the set, various films in The Mummy franchise are surveyed for their background sounds. I then look to works such as Mitchell’s Egypt at the Exhibition, which delve into the link between sound, chaos, and The Orient, and apply my own analysis to the sounds within the films. For the latter, I explore the legacy of Orientalism within the western music tradition using Said’s The Imperial Spectacle, and D.B. Scott’s Orientalism and Musical Style, then analyze the elements of music (most notably harmony, tone color, and texture) within the soundtracks to show how they perpetuate or subvert audience expectations of the time. Ultimately, this paper will demonstrate the importance of sound in perpetuating Orientalist attitudes: sound in Hollywood has not only helped to advance stereotypes of timelessness, exoticism, and adventure but facilitated their more recent development to that of violence and terror.