Despite robust scholarship on the digital divide, little attention has been paid to its spatiality: how does the organization of physical space, especially the status of the built environment, affect digital access? These questions are especially neglected with regard to Asian Americans, who are thought to have consistently high levels of technological attainment. Nonetheless, certain Asian American communities, particularly those that are poor, working-class, or from refugee backgrounds, remain disproportionately disconnected from the Internet. In this paper, I examine the relationships between digital, racial, and environmental inequalities in San Francisco’s Chinatown. I show that historic disinvestment in Chinatown’s building stock, combined with campaigns led by ethnic Chinese people themselves to preserve historic structures and prevent displacement, have created a physical landscape that cannot support broadband Internet. As a result, many residents depend on inferior connections that diminish their life outcomes. I conclude that digital inaccess is the most recent manifestation of historical place-based racism through which Asian Americans have been constructed as outsiders and perpetual foreigners.

This article introduces the “multiply produced film” as a methodology and analytic that highlights the asymmetrical dynamics inherent to collaboration. I draw on (auto)ethnographic material from the making of Get By (2014), a film on worker-community solidarity, to explore collaboration across race, class, and gender in subject matter and method. I situate the multiply produced film within a genealogy that grafts ontological insights from the anthropology of exchange onto the epistemological contributions of feminist, decolonial, and visual anthropologists committed to collaboration. I argue that as a method, collaborative filmmaking has the potential to challenge narrow Western conceptions of autonomy and authorship through shared authority and fluid roles that engender a cascading multivocality that shapes the resulting filmic form. As an analytic, the multiply produced film reveals how collaboration entails a fundamental tension between the gift-like exchanges of solidarity and the outwardly commoditized form (e.g., films, books) produced by such exchanges, raising questions about asymmetries of power, prestige, and accountability.

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In this article, we call for a feminist sensory ethnography that centers relations of care, subjectivity, and power between filmmakers, film "subjects," and audiences. Through in‐depth discussion of two films, Smile4Kime (Guzman 2023) and Nobel Nok Dah (Hong, Lai, and Mihai 2015) we explore three techniques of feminist sensory ethnography—a multisensorial theory of the flesh, sensory accompaniment, and narrative intimacy—that draw on feminist and non‐Western genealogies of sensory knowledge production. We see this move away from observational filmmaking as a “politic of necessity” (Moraga and Anzaldúa 2015) through which the sensory is imbued with embodied knowledge.