The car functions as an infrastructure enabling self-production as commodity.

Evidence

We want to suggest something a little different from Cooke, though. Filming in cars is, certainly, a form of narcissistic oblivion in which one’s voice and one’s desire to communicate, to generate information, to have a voice all supersede a concern for safety, a care for others. It requires the extreme confidence that Cooke describes but also requires a belief that one’s primary purpose and significance is to generate content. … Above all, we suggest, the car is a background central for the factory that is influencer culture because it permits anyone access to a space that is equally intimate, an intimacy that emerges from particular techniques for isolating oneself, thereby producing oneself as a commodity. — Grant Bollmer, Katherine Guinness, The Influencer Factory, 181

Categorization

• DEFINE: The car joins the house as one of the book’s four infrastructural backgrounds for influencer self-commodification.
• XREF: Connects to the reader’s framework of house/car/market/warehouse — the car’s specific role here is generic, democratic intimacy as opposed to the house’s specific, metonymic intimacy.