African ecologies and the various media forms devoted to them remain marginal in the bourgeoning discourse of ecomedia studies despite the implication of the continent in mineral extraction, wildlife conservation, and the dumping of toxic wastes, just to mention a few examples. Turning to media focusing on Nigeria’s Niger-Delta region, the author argues that African cultural forms are crucial for extending the frontiers of ecomedia studies and for apprehending the perversities of oil culture. His analysis of a mural in Ireland’s Mayo County featuring the environmental activist Ken Saro-Wiwa (2005), the music video for Timaya’s ‘Dem Mama’ (2006), and Victor Ehikhamenor’s art installation, The Wealth of Nations (2015), shows that they deploy the visual in protesting the commodifying logic of oil extraction. This article adopts an infrastructural approach toward media as it underscores how oil consecrates the selected cultural objects as network forms. Focusing on African materials extends the geography and archive of ecomedia studies, but it has methodological implications too. The author orients scholarship in the environmental humanities toward working across media, encouraging the field to adopt ecological relationality as both the matter and the method.

尽管非洲大陆在矿物开采，野生动植物保护和有毒废物的倾倒方面有牵连，但非洲生态学和致力于它们的各种媒体形式在新兴的生态媒体研究中仍然处于边缘地位。在谈到关注尼日利亚尼日尔三角洲地区的媒体时，作者认为非洲文化形式对于扩展生态媒体研究的前沿和理解石油文化的变态至关重要。他对爱尔兰梅奥县的一幅壁画进行了分析，其中包括环保主义者肯·萨罗·维瓦（Ken Saro-Wiwa）（2005），蒂玛亚（Timaya）的《 Dem Mama》的音乐录影带（2006）和维克多·埃希哈曼诺尔（Victor Ehikhamenor）的艺术装置《国富论》（2015年）表明，他们在抗议采油的商品化逻辑上部署了视觉系统。本文对媒体采取了基础设施的方法，因为它强调了石油如何将选定的文化对象以网络形式奉献。专注于非洲材料扩展了生态媒体研究的地理和档案，但它也具有方法论意义。作者将环境人文学科的奖学金定位为跨媒体工作，鼓励该领域将生态关系作为事物和方法。