My project traces the radically roundabout history of what I term Afro-spectacle, beginning with films of the early 1970s to today’s time-based installations. In particular, artists and filmmakers Melvin Van Peebles, Isaac Julien, and Steve McQueen reveal immersive spectacle to be a site where black radical resistance and aesthetics have converged, standing in sharp contrast to the dominant understanding of spectacular seduction as the artistic agent of late capital. Indeed, the moving images of Van Peebles, Julien, and McQueen chart another trajectory, showing how the immersive nature of Afro-spectacle occasions blackness itself, the ecstatic force of objects performing radical objection immersed within, rather than distanced outside, the mise-en-scène.