Linear cultural heritage is a unique and emerging type of large-scale heritage primarily located in rural areas. Despite the fact that much literature has concentrated on the importance of heritage to rural revitalization and development in Western countries, linear cultural heritage production has remained largely absent from accounts of rural studies in the context of China. This article aims to address this neglect by examining the spatial reconstruction process of the Meiguan Historical Trail. Based on the theory of the production of space, this article reveals the cultural practice of local ruling elites in mobilizing linear cultural heritage to promote regional competitiveness and how ordinary people question the official space reconstruction policy. The article finds that residents are obedient to government’s efforts, while tourists are suspicious of the superficial cultural restoration. The findings further deepen the understanding of linear cultural heritage production as a rural development location policy. In addition, as an important dynamic force, culture participates in the spatial production of linear cultural heritage, which enriches the cultural dimension of spatial production to a certain extent. The findings offer theoretical direction and policy recommendations for the development and sustainability of linear cultural heritage worldwide.

This study examines how social media platforms reshape urban tourism through the case of Dongshankou, Guangzhou, a prototypical Wanghong place (social media-famous sites). Drawing on digital geography, visual consumerism, and platformized-tourism theory, it identifies a triadic “algorithm–user–capital” circuit that transforms physical spaces into symbolic, aestheticized landscapes. Xiaohongshu’s algorithmic recommendations, user-generated narratives, and commercial integration collectively mediate digital visibility, guide embodied tourist behaviors, and drive material transformations, including homogenized retail formats, gentrification, and merchant displacement. Tourists become “digital prosumers,” enacting standardized poses, filter esthetics, and participatory archives that reinforce platform-driven spatial hierarchies. The recursive loop of digital mediation, affective engagement, and commercial conversion illustrates how Chinese-style wanghong ecosystems integrate state governance, e-commerce, and urban renewal. Findings extend digital capitalism theory beyond Western contexts, providing insights for the sustainable management of platformized tourism that balances social, cultural, and economic dynamics.