Pinocchio Essay V 6

THE
NEVER-ENDING APPEAL
OF THE
FOREVER-GROWING NOSE

The Perpetual Illustrative Portrayals of Pinocchio,
Including their Importance and Persisting Implications

An extended essay by
Jack Taylor

B.A. Illustration
10,000 Word Research Report
2013-2014

Jack Taylor The Never-ending Appeal of the Forever-growing Nose
2

ABSTRACT

This essay aims to evaluate the various ways in which
the story of Pinocchio has been represented by
illustrators, both past and present, and their attempts to
continuously inject life into this classic tale. Beginning
with an assessment of the source text by Carlo Collodi
alongside the accompanying artwork (which was
provided by his friend Enrico Mazzanti), it may be
ascertained whether the cavalcades of future iterations
have handled their work with disrespect or only served to
enhance it for a new generation. A handful of notable
versions of both printed and filmic origin shall be
investigated, and in doing so, the recurrent themes and
devices as well as any potentially remnant avenues and
key considerations for people wishing to work with this
storied text in future will hopefully be uncovered.

3

CONTENTS

Table of Illustrations........................................4-8

Introduction........................................................9

Chapter 1:
The Root of the Puppet...........................10-12

Chapter 2:
The Rise of the Puppet...........................13-21

Chapter 3:
The Retelling of the Puppet.....................22-35

Chapter 4:
The Repurposing of the Puppet...............36-41

Conclusion:
The Return of the Puppet............................42

Bibliography......................................................43
4

TABLE OF ILLUSTRATIONS

Figure
#
Page
Used
Artist Source Thumb

Chapter 2

1 13
Enrico
Mazzanti
Internet image retrieved from
http://www.daringtodo.com/
wp-
content/uploads/2011/03/Pin
occhio_visto_da_Enrico_Ma
zzanti_1883.jpg
2 14
Enrico
Mazzanti
http://ic.pics.livejournal.com/
nadezhdmorozova/20244507
/466243/466243_original.jpg

3 15
Enrico
Mazzanti
http://www.5cense.com/11/P
innochio/Gatto_e_volpe.jpg

4 16
Enrico
Mazzanti
http://upload.wikimedia.org/
wikipedia/commons/f/f1/Enri
co_Mazzanti_-
_the_hanged_Pinocchio_%2
81883%29.jpg

5 17
Enrico
Mazzanti
http://ic.pics.livejournal.com/
nadezhdmorozova/20244507
/466052/466052_original.jpg

6 18
Enrico
Mazzanti
http://www.imaginaria.com.a
r/21/0/ficciones-39-Pinocho-
Mazzanti.jpg

7 19
Enrico
Mazzanti
http://www.imaginaria.com.a
r/wp/wp-
content/uploads/2009/09/08-
pinocho-mazzanti.jpg

5
Figure
#
Page
Used
Artist Source Thumb
8 20
Enrico
Mazzanti
http://upload.wikimedia.org/
wikipedia/en/d/dd/Terribile_
pescecane.jpg

9 21
Enrico
Mazzanti
http://3.bp.blogspot.com/-
3yBkUBVVixU/TYgSDHz0
UFI/AAAAAAAAANE/w32
YA9CwRHk/s400/pinocchio
_collodi_end.jpg

Chapter 3

10 22
James
Mayhew
Book scan from
Collodi, C. and Poole, J.
(1994) Pinocchio: Great
Britain: Simon & Schuster
Young Books
Page 17

11 23
James
Mayhew
Book scan from
Young Books
Page 75

12 24
Sara
Fanelli
Book scan from
Collodi, C. and Rose, E.
(2003) Pinocchio: London:
Walker Books
Page 148

13 25
Sara
Fanelli
Book scan from
Walker Books
Page 50-51

14 26 (left)
James
Mayhew
Book scan from
Young Books
Page 30

6
Figure
#
Page
Used
Artist Source Thumb
15
26
(right)
Sara
Fanelli
Book scan from
Walker Books
Page 38

16 27
Sara
Fanelli
Book scan from
Walker Books
Page 189

17 28 (top)
James
Mayhew
Book scan from
Young Books
Page 92
18
28
(bottom)
Scott
McCloud
Book scan from
McCloud, S. (1993)
Understanding Comics: The
Invisible Art: USA:
HarperCollins
Page 36
19 29
Sara
Fanelli
Book scan from
Walker Books
Page 42-43

20 30
James
Mayhew
Book scan from
Young Books
Page 14

21 31 (left)
Sara
Fanelli
Book scan from
Walker Books
Page 82

22
31
(right)
James
Mayhew
Book scan from
Young Books
Page 35

7
Figure
#
Page
Used
Artist Source Thumb
23 33 (left)
James
Mayhew
Book scan from
Young Books
Page 2

24
33
(right)
Sara
Fanelli
Book scan from
Walker Books
Page 14

25 34 (left)
James
Mayhew
Book scan from
Young Books
Page 37
26
34
(right)
Sara
Fanelli
Book scan from
Walker Books
Page 87

27 35 (left)
James
Mayhew
Book scan from
Young Books
Page 48

28
35
(right)
Sara
Fanelli
Book scan from
Walker Books
Page 103

Chapter 4

29 37 Unknown
http://petebooth.com/wp-
content/uploads/2014/02/An
nex-Bergen-Edgar_02.jpg

Original located at
http://filmstills.photoshelter.c
om/image/I0000TF2CZnr0Y
gg

8
Figure
#
Page
Used
Artist Source Thumb
30 38
Walt Disney
animation
team
Still photographic image
capture from Disney, W. and
Sharpsteen, B. (1940)
Pinocchio [BD]: Walt
Disney

31 39
Golden Films
animation
team
Still screenshot capture from
Eskanazi, D. (1992)
Pinocchio [DVD]: Golden
Films

32 40
Golden Films
animation
team
Still screenshot capture from
Eskanazi, D. (1992)
Pinocchio [DVD]: Golden
Films

33 41
Walt Disney
animation
team
Still photographic image
capture from Disney, W. and
Sharpsteen, B. (1940)
Pinocchio [BD]: Walt
Disney

End of Table of Illustrations

9
INTRODUCTION

The following essay intends, by way of example, to explore and deliberate the reasons
that publishers and illustrators may have for continually drawing upon classic
literature. More specifically, the devices that illustrators have employed whilst
handling a text shall be investigated, with the disparity in reception between those that
stick by the original perception or those that attempt to take liberties with it being
considered. This should verify the necessity, or lack thereof, for a text to be refreshed
in changing times. Due to the swathes of popular classics available, the focus shall be
upon one with a storied history of reinterpretation, Pinocchio, but both illustrative and
filmic variations of the classic tale will be dissected to produce a clearer picture that
details the various ways this story has been tackled.

To begin, the core themes and ideals behind the original version of the story by Carlo
Collodi shall be explained, so as to ascertain the audience that it was intended to
resonate with and the message that it was trying to impart, both through the writing
itself and via the illustrations provided by Enrico Mazzanti. Once this is established, it
can be used as a benchmark to evaluate how future illustrators have interpreted the
source to cater, perhaps, to a different demographic, or one that has since changed
during the time proceeding the original tales publishing in 1881.

In modern times, at least amongst those with an eye for distinctive illustration, the
2003 version with artwork provided by Sara Fanelli appears to be held in high regard,
and as such, this version shall be critically evaluated as the contemporary equivalent
to determine if its high esteem is justified. Keeping within the realms of literature, a
1994 retelling, which was illustrated in a very traditionally-minded manner by James
Mayhew, shall be given a look in contrast to Fanellis version; do these different
approaches retain similar design sensibilities?

Casting the line beyond print, the feature animation produced by Walt Disney in 1940
shall also be examined, mostly because this version is widely recognised in popular
culture and, in fact, is perhaps the only exposure certain people have had to the story
in question. Disney was able to condense the tale into a coherent film but also took
many artistic liberties when doing so; how this changed the way that Pinocchio is
perceived is an interesting topic of discussion. This adaptation will be studied
alongside the 1992 short animated film by Golden Films to see how this
representation of the tale was realised, and if when compared to the cinematic
Disney version it appears similar techniques may have been called upon.

With all of the above in mind, a considered judgement can be reached as to which of
the versions is the most successful in maintaining the spirit of the source. But most
significantly, any room still available for future interpretations to present a unique
spin on this classic tale can also be ascertained.

10
CHAPTER 1
The Root of the Puppet

The following chapter introduces the original story and the importance of its
underlying meaning to the target audience, as well as illustrations place in
conveying this.

The original story of Pinocchio (in full: Le Avventure di Pinocchio) was written by
Carlo Lorenzini in 1881, under the pseudonym Carlo Collodi; it was first published in
an Italian childrens periodical on a chapter-by-chapter basis.
1

Whilst his target audience would imply certain characteristics about the tone of the
story, Collodi had apparently had enough with writing and attempted to kill off
Pinocchio, having him hung by assassins.
2
By todays standards, this would be a
surprisingly grim final for a piece of childrens literature (this event, whilst still
present in his finished story, instead acts as a watershed event around the midpoint.)
Being akin to a classic fairy tale, there is a frequent juxtaposition of fantasy and
reality to create a certain shock factor; the storys setting seems to be almost
subdivided into two realms, one of which is bizarrely fantastical and dreamlike, and
one that is relatively normal. This manner of contrast is often seen in this genre of
storytelling, a subject Bruno Bettelheim explores in his book The Uses of
Enchantment:

The fairy tale clearly does not refer to the outer world, although it may begin
realistically enoughThe unrealistic nature of these talesis an important device,
because it makes obvious that the fairy tales concern is not useful information about
the external world, but the inner process taking place in an individual.
3

Some of the events, like the aforementioned hanging, are strangely nightmarish and
potentially frightening to young readers; however, children can also relate to this, as
one would assume that they are also subjected to certain, terrible nightmares that they
cant wake up from; this is part of the inner process described above. The ultimate
realisation of this idea is when Pinocchio, after a string of misfortunes, becomes a
donkey and has to perform at the circus; this certainly echoes the harrowing sensation
of an inescapable nightmare (and one which, of course, only ends the moment that
Pinocchio finally wakes up as a real boy). Bettelheim explains at length how a fairy
tale which steadfastly refuses to shy away from dark subject matter is in fact much
more beneficial to a childs psychological development:

1
The story of Pinocchio was originally published in instalments begun inthe first Italian periodical
for children: the Giornale per i bambini (paper for children). - Nicolini, C. (2013) Puppet Power.
Illustration Magazine, Summer 2013 [Pg. 9]
2
Collodi continued his tale until he lost interest and decided to kill Pinocchio off. In Chapter 15the
Fox and the Cat disguised as assassins hung the puppet from a tree. - Nicolini, C. (2013) Puppet
Power. Illustration Magazine, Summer 2013 [Pg. 9]
3
Bettelheim, B. (1976) The Uses of Enchantment: Great Britain: Thames and Hudson [Pg. 25]
11
Safe stories mention neither death northe limits to our existenceThe fairy
tale, by contrast, confronts the child squarely with the basic human predicamentsit
is characteristic of fairy tales to state an existential dilemma briefly and pointedly.
This permits the child to come to grips with the problem in its most essential form.
4

Having to confront (and eventually overcome) existential dilemmas and terrible
predicaments is certainly a recurrent theme throughout Pinocchio, in which the titular
puppet is increasingly faced with the threat of poverty, starvation and death.
Interestingly, the puppets troubles are almost always engineered by his own hand,
which bestows upon him the bizarre honour of essentially being the tales protagonist
and antagonist simultaneously; Pinocchio is his own worst enemy. This particular
brand of character is, in fact, especially useful for a child reader attempting to
overcome his inner demons:

The fairy tale begins with the hero at the mercy of those who think little of himand
even threaten his lifeas the story unfolds, the hero is often forced to depend
onmagic animalsat the tales end the hero has mastered all trials andhas
achieved his true selfhoodIn fairy talesvictory isonly over oneself and over
[ones own] villainy.
5

Although the above quote is referring to fairy tales in general, it is an incredibly
accurate description of Pinocchios underlying plot progression. From the outset,
Pinocchio is portrayed as a wholly unlikeable character; a miscreant and a vagabond
subject to the scorn of the readership. But although it might initially seem difficult to
identify with such a rambunctious character, children can relate because [they] know
that they are not always goodand [that] therefore makes the child a monster in his
own eyes.
6
The way that this is of use to the child, then, is in how Pinocchio (as
impish as he may initially seem) does not remain a monster forever; he finds a
solution to the problems that hound him and is purged of all contempt by the storys
end. In fact, the level of character development afforded for Pinocchio throughout the
tale is an astonishing feat of literature, as Collodi transforms a character that we
immediately revile into someone with emotions and ambition who we genuinely care
about; strong and well-written characters such as this are what may initially attract
illustrators to take up the mantle.

Attractive a proposition as this may be, in reality the manner in which Pinocchio must
be presented as a character through illustration is a tough scale to balance; outward
appearances carry heavy connotations towards a characters alignment, as indicated
by Perry Nodelman: there are rarely ugly heroes or handsome villains in illustrated
versions of fairy tales assuming, of course, our usual societal values about what
constitutes beauty and ugliness.
7
To elaborate, it is for this very reason that Martin
Salisbury affirms the incredible difficulty one must face to ascertain how best to
depict a character:

Whether or not any genuine research has been carried out in the way children
respond to the various stylistic approaches to character representation is

4
5
Bettelheim, B. (1976) The Uses of Enchantment: Great Britain: Thames and Hudson [Pg. 127/128]
6
7
Nodelman, P. (1988) Words About Pictures: Georgia: University of Georgia Press [Pg. 112]
12
unclear[but] it is surprising how frequently artists character studies are rejected
as being too ugly or not pretty enough.
8

Pinocchio, contrary to the above, must be both convincingly loathsome and
mischievous one moment, yet loyal and resolute the next; depicting him as merely
despicable or admirable instantly hamstrings his developmental horizons by branding
his nature with one of only two sensibilities. How would one go about conveying a
characters moralistic evolution simply through one consistently beautified
appearance? Bettelheim argues that it is, in fact, essentially impossible to depict such
philosophically significant plots without demeaning its original substance:

Illustrated storybooksdo not serve the childs best needs. The illustrations are
distracting rather than helpful[and] direct the childs imagination away from
how[they] would experience the story [it] is robbed of muchpersonal meaning
which it could bring to the child who applied only his own visual associations to the
story, instead of those of the illustrator.
9

On the other hand, this opinion stubbornly refuses to admit that illustrations can, in
certain circumstances, convey meanings to a child much more transparently than
perhaps the accompanying text would on its own. This is especially pertinent to
younger children with a lower standard of reading comprehension, who are more
likely to react to the significance attached to visual stimuli. Martin Salisbury
acknowledges the importance of a childs exposure to imagery:

For children, pictures in books are often their first means of making sense of a world
they have not yet begun to fully experienceillustration is a subtle and complex art
form that can communicate on many levels and leave a deep imprint on a childs
consciousness.
10

Clearly, there is an apparent need for artists to lend their visual skills to stories such as
Collodis timeless narrative, as their imagery can help convey substance to their
developing, impressionable audience. It is with this in mind that we shall henceforth
begin our journey through the puppets everlasting venture within the world of
illustration.

8
Salisbury, M. (2004) Illustrating Childrens Books: London: A&C Black Publishers [Pg. 66]
9
10
13
CHAPTER 2
The Rise of the Puppet

The following chapter aims to describe the aesthetic of the original story, the message
that it was attempting to portray and how these relate to its most notable scenes and
characters.

The preceding chapter established that Carlo Collodi first wrote and eventually
published his story, Le Avventure di Pinocchio, in 1881. Before his death in 1890 he
saw only one illustrator attempt to envisage his manuscript Enrico Mazzanti, who
was a close friend of Collodis and specifically entrusted with this task by the
aforementioned writer.
11
Whilst one can merely speculate, assumedly this personal
association would suggest that Mazzantis portrayal of the character had been
influenced and shaped to the whim of Collodi himself and therefore not simply that of
the illustrator; perhaps, one could argue, this makes it the one true likeness of the
hero and his world. Therefore, we shall begin by examining both Mazzantis drawings
and the content of the original book side by side, as they are indubitably related:

It is impossible to talk sensibly about the meaning of the picturesin isolation from
the words that evoked their creation in the first place.
12

To anyone familiar with prettified, modern
interpretations of the character, Mazzantis
depiction may come as a bit of a surprise;
surely this isnt the same happy-go-lucky
puppet weve come to expect? But in many
ways, this interpretation is as close to the
original description as one could reach. Two
of Pinocchios most iconic features, his nose
[that] was as long as if there was no end to
it
13
as well as his suit [made] out of
flowered paper
14
, are both readily evident.
Pinocchio is also very angular and pointy
(especially his almost demonic, claw-like
hands) giving him a tangible air of
unpredictability and menace, yet his thin
limbs also imply a brittleness consistent with
his tendency to be continually subjected to
dire situations which threaten his life. The
protruding spike of his nose is echoed by the

11
Its illustration was entrusted to Enrico Mazzanti, a close friend of Collodis who had already
illustrated his translations of French fairy tales. This was the only version of Pinocchio to be
illustrated in Collodis lifetime. Nicolini, C. (2013) Puppet Power. Illustration Magazine, Summer
2013 [Pg. 10-11]
12
13
Collodi, C. and Harden, E. (1882) Pinocchio: Australia: Consolidated Press [Pg. 14]
14
Fig. 1
14
backwards taper of his hat, which affords a sense of imbalance and makes his image
appear slightly unsettling. Finally, his lankiness suggests a haughtily arrogant attitude,
amplifying his resolve to not ever be told what to do:

Of all the trades in the world, there is only one which really attracts meTo eat,
drink, sleep, and amuse myself, and to lead a vagabond life from morning to night.
15

This all adds up to a lead character whom we despise and feel repulsed by; within
narrative context, the traits imbued by this image serve to amplify Collodis written
characterisation of Pinocchio as being an obnoxious character. And whilst this may
seem like a dangerous attribute to attach to ones protagonist, as outlined in Chapter
1, it is also exactly what Collodi intended, for it is clear at the beginning of the novel
that the reader is supposed to identify not with Pinocchio but with the poor father,
Geppetto, who has been cursed with such an unruly child:

Wretched son! And to think I worked so hard to make a fine puppet! But serve me
right. I ought to have known what would happen.
16

As previously suggested, Pinocchio begins as the villain of the piece, bringing
misfortune not only to himself but to all those around him; in the novels third
chapter, Geppetto is arrested and imprisoned in place of his son, for Pinocchio pushes
the blame for his misdeeds onto his
unsuspecting father; he is criminalised
by onlookers after he designs to teach
Pinocchio a stern lesson.

[Geppetto] took [Pinocchio] by the
nape of his neck, and as they walked
away he said, shaking his head
menacingly, You just come home,
and Ill settle your account when we
get there!
17

This image by Mazzanti does seem to
cast Geppetto as a rather threatening
and foreboding figure. The manner in
which Pinocchios pose mirrors that
of Geppettos shows that they are
inextricably connected, and that in
this situation they perhaps are, in fact,
as bad as each other; although
Pinocchio was born a mischievous
urchin, Geppetto is still having to come to terms with his apparently misplaced wish
for a son. However, as we are deprived of the characters expression, we therefore
cannot tell if Geppetto is truly angry and is merely attempting to lead Pinocchio away
from danger (appearing also to be having a difficult time in doing so); as such the

15
16
17
Fig. 2
15
puppet is still the vessel for our contempt, for he appears to care not for the thought of
his father; a feeling evidenced once he decides to run away from home once more.

Pinocchios misadventures in the wider world truly begin to unfold once he is
approached by a fox who was lame in one foot, and a cat who was blind in both eyes,
getting along as best they could, like good companions in misfortune.
18

Contrary to most modern depictions (see Fig. 10 and Fig. 13 later in this essay),
Mazzanti depicts the Fox and the Cat as ordinary quadrupedal animals. The cats
blindness is represented via closed eyes and the foxs lameness by an awkward gait
(however their invalidity is merely a sham). In this scene, we actually identify with
Pinocchio for likely the first time, as a character on the lower left with his back
turned to us will receive the most sympathy, for his position is most like our own in
relation to the picture.
19
In other words, we are both being confronted by these two
slightly suspicious looking animals together; Pinocchios pose and helpless
expression suggest he doesnt yet know what to make of them, as nor do we as the
reader.

Action usually moves from left to right in picture books; and obviously, then, time
conventionally passes from left to right.
20
Bearing this in mind, the above image now
implies halted progress, as though the animals are barricading Pinocchio and holding
his attention hostage. This works in the dialogues favour, as Pinocchio is incredibly
indecisive about whether or not he should join the pair or not:

Pinocchio thought for a momentNo, Im not going. Im nearly at home, and I
want to go to my father

18
19
20
Fig. 3
16
Well, then, said the fox, so you really want to go home? Run along, then, and so
much the worse for you!

Forgetting his father,[Pinocchio] said to the fox and the cat, Well, lets start! I
shall come with you.
21

If the Fox and the Cat can be said to embody bad influences (with the foxs cunning
and the cats impassiveness), then this idea of the pair impeding Pinocchios
progress in the image ties into a portion of the philosophy of fairy tales; Bettelheim
describes how seemingly unsolvable predicaments can naturally present themselves to
an individual:

Fairy tales [convey to the child that] severe difficulties in life [are] unavoidable,
[and are] an intrinsic part of human existence but that is if one does not shy away,
but steadfastly meetsall obstacles and at the end emerges victorious.
22

By the logic of the old saying birds of a feather flock together, the disobedient
Pinocchio travels for a time with these two delinquents, falling in with company
befitting his own current moralistic virtues. Unbeknownst to the puppet, this
relationship would in fact end in his untimely death.

A scene often missing from
recent adaptations,
Pinocchios hanging is the
result of Collodis intent to
kill off his character (see
Chapter 1.) The Fox and the
Cat endeavour to rob the
puppet by assassinating him
with knives, but upon
finding his wooden body
resisted their blades they
bound his arms behind his
back and, putting a running
noose around his throat, they
tied him to a branch of a big
oak tree.
23
Mazzanti, in
particular, appears to have
illustrated the moments
before his death rather than
the death itself:

A stormy north wind had begun to blow, and it raged, and it whistled, and blew the
poor puppet back and forth as fast as the bell-clapper on a wedding-day. It hurt him
dreadfully, and the running noose tightened around his throat so that he could not
breathe.
24

21
Collodi, C. and Harden, E. (1882) Pinocchio: Australia: Consolidated Press [Pg. 52/53]
22
23
24
Fig. 4
17

To avoid showing the finality of Pinocchios death, Mazzanti has opted to focus on
the above action specifically to keep the resolution implied:

Picture books are filled with pictures that show an action just before it reaches its
climaxin this storytelling medium, the evocation of action is of the essence.
25

On the other hand, closer inspection may render this implication superficial; despite
the gusting of the wind, as evidenced by the scattering of leaves and the swing of the
rope, Pinocchios body is entirely rigid, as though it may in fact already have
succumbed to death. It is quite clear from the wide-eyed expression of his face that
this is not the case; the stiffness of body rather serves to foreshadow his eventual fate.

Rescued by the Blue-haired Fairy that lives in the woods, the puppets lifeless body
is then examined by her three magical doctors.

The crow came forward first, and felt Pinocchios pulse; then he felt his nose, and
finally his little toe. Having examined them carefully he solemnly declared, It is my
opinion that this puppet is quite dead, but if, unfortunately, he is not dead, then that
would be a sure sign that he is still alive.
26

25
26
Fig. 5
18
It should be noted that, at odds with the realistic forms adopted by the Fox and Cat,
the doctors are clearly anthropomorphised by Mazzanti; the Crow even has what
appears to be a regular human hand. This suggestion of humanity perhaps ties in with
their comparative benevolence to the villainous assassins; the idea that they are
attempting to assist Pinocchio as opposed to conspiring to murder him. We relate
more to the image of a human because the minds of animals are difficult for us to
read, and therefore become more uncertain:

The actors in a story are usually humananimals have been introduced, butwe
know too little so far about their psychologyuntil [that] comes the actors in a story
are, or pretend to be, human beings.
27

On the other hand, it is also worth noting that this scene occurs directly after the
hanging, which was the initial ending of the story. Following the immediate
introduction of the Blue Fairy to bring the puppet back to life, it is therefore possible
that the anthropomorphised doctors are also indicative of Collodis shift to a plot
more cemented in a fantastical, fairy-story genre, less concerned with reality.

Despite the crows assessment, Pinocchio, it seems, is not yet dead, but refuses life-
saving medication from the Blue Fairy because he insists:

Its too
bitter!...I cant
drink it.

Are you not
afraid to die?

Not a bit! Id
rather die than
drink that horrid
medicine!

At that moment,
the door of the
room opened, and
four rabbits as
black as ink came
in, carrying a
little black coffin
on their shoulders.
28

Mazzanti has played up the description of the rabbits ink-black bodies by literally
rendering them incredibly densely with his own ink; this contrasts tremendously with
the lined-and-hatched drawing elsewhere, as though the rabbits really have arrived
from a very separate underworld to come and take Pinocchio away. Pinocchio is also
shaded rather solidly here; this connection establishes the rabbits relationship to him.

27
Forster, E. (1927) Aspects of the Novel: England: Penguin Books
28
Fig. 6
19
By this point, you cant help but feel slightly sorry for the puppet, especially in
conjunction with the alarmed and frenzied expression Mazzanti has bestowed upon
him.

Although the puppet eventually takes the medicine and gets better, no amount of
advice given by the Blue Fairy can coerce Pinocchio from committing further
misdemeanours. Even after being promised the realisation of his wish to become a
real boy, he runs away with Lampwick to Playland, lured by the promise of school-
free weeks and perpetual holidays; it is here that he is fated to become a donkey, and
not a boy. This bait-and-switch-esque reversal is somewhat of a trope in fairy stories,
but with good reason:

Evil is not without attractions [and often] a usurper succeeds for a time in seizing
the place which rightfully belongs to the heroThe child [identifies with the hero]
and the inner and outer struggles of the hero imprint morality on him.
29

Whereas the Fox and the
Cat filled a similar role
earlier in the story, the
usurper is now
Lampwick (as well as the
child-ferrying
Coachman.)

At last the coach
arrivedIt was drawn by
twelve pairs of donkeys,
all the same size. Some
were grey, some white,
some spotted, others
again were yellow and
blue in large stripes.
30

This image of the
Coachmans arrival with
his team of donkeys uses
a similar technique to the
above illustration of the
rabbits, creating an
incredibly dense form
which brings a sinister
mood, as though he were
also sent specifically
from a world of darkness to lead Pinocchio to his demise.

The nontextual elements that create mood or atmospherelikethe artists choice
of medium and style, the density of texturefocus our expectations even before we

29
30
Fig. 7
20
explore the pictures closely enough to notice the relationships between their details;
they imply an overall mood or atmosphere that controls our understanding of the
scenes depicted.
31

Mazzanti seems to have used darkness to signify an unknown and impending threat;
the earlier image of the hanging is not dark, for its implications were already a known
quantity. In other words, this silhouette can be seen to be literally foreshadowing
the eventual transformation into a donkey.

Lamed at the circus, Pinocchio the donkey is sold on to a village band member, who
wishes to use his hide to re-skin a drum. Instead of drowning, Pinocchios flesh is
eaten by fish to reveal the puppet underneath, so the drummer decides to use his
wooden body to light his fire instead. Hearing this, Pinocchio escapes by swimming
out to sea, but then has a run-in with the terrible dogfish an overgrown shark.

Pinocchiosawa rock which looked like white marble[where] a beautiful little
goat was bleating, and beckoning him to come nearerdoubling his energy, he swam
towards the white rockwhen he saw, rushing towards hima sea monster with a
horrible head, and [a] mouthwith three rows of teeth that would have frightened
anyone, even in a picture.
32

Pinocchio is literally caught between a rock and a hard place as he desperately
attempts to join the goat in safety. His silhouette is barely noticeable in Mazzantis
illustration, lost to the waves and the towering form of the shark. The image seems to
focus on the juxtaposition between the sanctuary of the rock on one side and the
cavernous, gaping maw on the other; Pinocchios outstretched form links the two

31
Nodelman, P. (1988) Words About Pictures: Georgia: University of Georgia Press [Pg. 41/42]
32
Fig. 8
21
together. However, the shark itself actually appears slightly comical and non-
threatening besides its bared rows of teeth; perhaps the image of a monster described
as being so frightening is one thing best left to the imagination:

Asking childrenwhat a monster they have heard about in a story looks like, elicits
the wildest variations of embodimenteach of these details has great meaning to the
person who in his minds eye created this particular pictorial realizationseeing the
monster as painted by the artist in a particular waymay then leave us entirely cold,
having nothing of importance to tell us.
33

Although consumed by the shark, the puppet discovers his father Geppetto trapped
inside, and the two escape by riding aback a tuna fish. With his father unwell,
Pinocchio works night and day to return him to health, thus earning the right to
become a real boy at last.

Geppetto [pointed] to a large
puppet that was leaning against a
chairso that it was a miracle that
he could stand there.

Pinocchiosaid to himself
contentedly, How ridiculous I was
when I was a puppet! And how
happy I am to have become a real
boy!
34

The final scene is indicative of a
rebirth for the character, and thus
the human Pinocchio bears no
resemblance to the dislikeable
ruffian he once was; he has
developed so much as an individual
that they may as well be entirely
different people. The message
imparted to child and adult alike is
that you, too, may one day mature
as a dependable and respectable person and, as Mazzantis drawing shows, be able to
look down upon your former self and say with conviction that you are now able to
stand solidly on your own two feet.

What the child needs most is to be presented with symbolic images which reassure
him that there is a solutionthe fairy tale offers fantasy materials which suggest to
the child in symbolic form what the battle to achieve self-realisation is all about, and
it guarantees a happy ending.
35

33
34
35
Fig. 9
22
CHAPTER 3
The Retelling of the Puppet

The following chapter aims to evaluate the methods by which the Pinocchio story has
been presented through future illustration. Two different approaches shall be
compared: those employed by James Mayhew (1994) and Sara Fanelli (2003),
henceforth beginning with the former.

3.1 James Mayhew A Conventional Puppet

The version illustrated by James Mayhew has a very
intricate and traditional aesthetic, supposedly
tak[ing] inspiration from the colours and images of
the Italian landscape.
36
Although there appears to
be an emphasis on elaborate line-work, the colours
used are also very airy, approaching pastel shades.
However, the combination of line and form appears
perceptibly dense, and is therefore occasionally
reminiscent of an oil painting, despite rendering his
work us[ing] inks on china clay paper.
37
What this
lends to the story is a very dreamlike aura of whimsy
whilst retaining, paradoxically, an element of sure-
footed reality; a sensation most suitable for the
realms of fantasy-fiction, as Perry Nodelman
suggests:

Richly detailed environments [are] found mainly in
pictures that illustrate fantasiesthe more these
pictures look like traditional oil paintings, the more
solidly real seem the fantasy places and objects they
depict.
38

Mayhew enhances these feelings of realistic
involvement within his images via his equally strong
sense of composition; Nodelman, in a number of
instances, presents his allusion that illustrating a
story is, for all intents and purposes, much like
arranging a stage play during theatre:

Both stage directors and picture-book illustrators suggest the relationships of their
characters by placing them in ways that make use of the directed tensions of visual
imagerythe relative positions of characters within it [then] become meaningful.
39

36
Collodi, C. and Poole, J. (1994) Pinocchio: Great Britain: Simon & Schuster Young Books [Jacket]
37
38
39
Fig. 10
23

Directed tensions here specifically refers to devices such as framing and the spatial
positioning of inclusive elements. Mayhews inherent grasp of such techniques clearly
derives from his own passion for theatre and costumery: Theatre [continues] to play
an important role in his work[his] illustrated collections and anthologies[reflect]
his cultural interests.
40

As such, he is able to perceive the illustrated world through the eyes of an established
stage designer; this may explain why he chooses to frame many of his pieces, for a

40
Fig. 11
24
frame around a pictureimplies detachment and objectivity[a] worldseparate
from our own world, marked off for us to look at
41
, just as the performers of a stage
production are encapsulated within an isolated diorama for the audience to observe.
An excellent example of Mayhew employing his compositional eye can be seen
above; the curtains frame our glimpse at the circus like a view-finder. The curve of
the ring confines, and draws focus to, the characters and performers, separating them
further from us and the rest of the audience. Finally, the spotlight brings ultimate
attention to Pinocchio in the centre.

Now having briefly discussed the basic intrinsic qualities of James approach and
philosophy, we shall direct our attention on to Sara Fanelli.

3.2 Sara Fanelli A Contemporary Puppet

In conjunction with an all-new translation penned by Emma Rose, Fanelli offered a
more contemporary approach in 2003 to freshen up this aging tale as part of Walker
Books Illustrated Classics series, republished in 2009. Fanelli is said to have
undertaken the task of illustrating the story of Pinocchio for it was a part of [her]
childhood[she] fell for the energy and surrealism of the puppets escapades [and]
tried to create a world that would be playful and attractive to a contemporary child
yet which was also truthful to the original setting of the story.
42

The use of the surrealist label can
certainly be applied to the final
production (see Fig. 12), and
may in fact be a turn-off for
certain individuals when
compared to endeavours such as
Mayhews more conventional,
traditional approach; Martin
Salisbury has this to say of her
work:

[Sara Fanelli] possesses that
rare gift of a childlike approach
to shapes, colours and mark-
making combined with a deeply
sophisticated sense of design and
a passionate and cultured mind.
Books like Saras, which in many
ways can be seen as true artists
books, can invite criticism from
publishers and librarians, some
of whom feel that the books are
aimed over the heads of children.
43

41
42
Collodi, C. and Rose, E. (2003) Pinocchio: London: Walker Books [Pg. 1]
43
Fig. 12
25
As suggested above, the most frequent form of this criticism is the assertion that the
imagery is far too conceptually abstract and as such only has value as a curio a
collectors piece as opposed to catering to the anticipated audience:

This picaresque narrative makes a strange partner to Fanelli's up-to-date paper
collages and loose pen-and-brush sketcheswith its variegated layout and wordless
full-bleed spreads, the volume most resembles an artist's handmade book;
[Fanellis]modish treatment, a far cry from conventional versions of the classic,
may be best suited to collectors.
44

However, this dismissive mindset is perhaps incredibly misguided, for without
slightly left-field approaches like Fanellis to really push the envelope of illustration,
the industry will be reluctant to change its attitudes and advance the medium,
particularly in terms of the approaches which become acceptable for any given
purpose (such as a dated fairy story). Salisbury elaborates:

We know from historythat what is regarded as radical or cutting edge can quickly
become mainstream and much imitatedwork taking place on the boundaries of any
creative discipline is essential for its all-around vitality.
45

That certain angles should be sequestered into an arbitrary suitability bracket for
collectors only shows how close-minded both the publishers and consumers can
be. As Perry Nodelman puts forward in Words About Pictures, having various takes
on a single narrative is clearly of no detriment and can be nothing but beneficial:

The illustrations in picture booksare merelyone out of many potentially
convincing ways of filling a gapsince they are incomplete by definition, picture-

44
Publishers Weekly (2004) Childrens Book Review: Pinocchio. Available from:
<http://www.publishersweekly.com/978-0-7636-2261-9> [Accessed 19 Feb 2014]
45
Fig. 13
26
book texts can always be realisedand made into different stories, by different kinds
of pictures.
46

Approaches such as Fanellis may stir controversy, then, but when one is filling a
niche to cater to differing tastes it becomes exceedingly difficult to call foul,
especially when the creator in question has become distinguished, bestowed by
accolades such as the V&A Illustration Award (2004)
47
; if one should not like any
particular rendition, there are thousands of other takes available one may appreciate
instead; that Fanellis version coexists with Mayhews does not detract from the
existence of either interpretation, or indeed the original work by Mazzanti. Thus, the
following analysis attempts to evaluate these approaches from two seemingly very
different artists under the simple common stipulation of them having both lent their
talents to illustrating Pinocchio.

3.3 Depicting the Puppet

It wouldnt be Pinocchio without the titular hero himself, so we begin by contrasting
the manner in which both Mayhew and Fanelli have chosen to depict this mischievous
urchins wooden visage in detail.

On the left (Fig. 14) we have Pinocchio as portrayed by James Mayhew, and to the
right (Fig. 15) is Sara Fanellis incarnation of the character. As may seem readily
apparent, neither of these renditions bears any perceptible resemblance to one another
besides the colour of the puppets finish, his flowered-paper suit and trademark long
nose; all three of these features are also visualised reasonably dissimilarly between
the two representations.

46
47
V&A (2004) V&A Illustrations Awards 2004. Available from:
<http://www.vam.ac.uk/content/articles/v/about-the-winning-artists/> [Accessed 19 Feb 2014]

Fig. 14
Fig. 15
27
Evidently, Mayhew chooses to use a more realistic style with a fashion-sense which
echoes Mazzantis rendition: rimmed, pointed cap; a ruff around the neck; elegant
patterning in the clothing with a low hem; long, pointed shoes. Fanelli, on the other
hand, has utilised an approach that could go so far as to be called abstract, affording a
sense of individuality. This disparity may be attributable to a number of different
reasons, but the most likely is indubitably linked to the manner in which the artists
have interpreted the text on a personal level:

Illustrators must make the choices that create style in picture books deliberately in
the context of their conception of the narrative effect they intend/ So-called realistic
art inevitably implies an attitude of scientific objectivityWe assume that surrealism
is imaginative and mysterious because the surrealist style has traditionally been used
in relationship to mysterious, imaginative subjects.
48

As such, we view the world as depicted by Mayhew with a sense of almost helpless
disconnect because, at the same time, we feel a compulsion a strange sense of
ownership towards the puppet (as though we were Geppetto himself), by virtue of
the almost graspable tangibility of James images. Conversely, Fanelli chooses to play
up the absurdity of this fantasy world through the use of very basic geometry and, at
odds with Mayhew, a dream-like suspense of belief; Fanelli makes no attempt to say
that this is not just some bizarre, almost feverish fiction, whereas Mayhew wants you
to trust that this world and its characters are real. Thus, relating back to the narratives
intent to impart a lesson, Mayhews, then like a persistent schoolmaster is a story
that wants to be taken seriously with impactful gravitas, whereas Fanelli steers
towards a light-hearted,
playful nursery-like
atmosphere more
focused on nurturing
the imagination. An
example of this
disparity can be
observed below, by
contrasting the manner
in which both artists
have depicted the
moment that Pinocchio
becomes a real boy.

The image on the right
(Fig. 16) shows a detail
from a double-spread of
Fanellis, depicting a
collaged Pinocchio with
a giant, photographic
head, which cuts a very
bizarre figure. The
floral background and
the bold, zesty border

48
Nodelman, P. (1988) Words About Pictures: Georgia: University of Georgia Press [Pg. 78 / 88]
Fig. 16
28
have an almost psychedelic vibe, and the cloud-like frame around the scene amplifies
the sensation of a dream: not only in the sense that the transformation is a dream
come true, but also that the entire story is a fantasy resonating with the childs
imagination.
Mayhew, however,
depicts a very
sentimental image
(Fig. 17), with a more
definitive frame to
give the story the
finality of closure or,
for the boy Pinocchio
at least, the gateway
to a new beginning.
Including the puppet
body (and the chair,
which implies setting)
makes it feel as
though the story
actually happened; we
are presented with
objects that suggest as
much. Being able to
observe the puppet
body objectively
serves as the proof.

However, it needs to
be said that the realistic tangibility of Mayhews depiction stems primarily from his
density of media, as suggested earlier, and not from the way in which his characters
are rendered; they, in fact, lean more heavily towards the realm of the cartoon. As
Scott McCloud demonstrates in Understanding Comics, the more a character has been
simplified to an iconic form, the more relatable that character inherently becomes:

Fig. 17
Fig. 18
29
If you take another look at Pinocchio as drawn by Mayhew, paying particular
attention towards the simple iconography of the face McCloud describes in Fig. 18
above, you will notice that the characters features conform to this theory; two large,
dot-like eyes, a simple mouththis use of almost generic simplicity, which converges
towards gender-neutrality, aids in our collective relatability to a storys protagonist.
This is why we can still feel a connection towards Mayhews character despite the
sense of objectivity projected by his backgrounds, which attempt to consume its
inhabitants. Perry Nodelman explains this particular phenomenon:

The characters inchildrens books must show us[how] peoplemove and talk
and think and feel. So their faces and bodies usually have the simplicity, and
consequently the expressiveness, of cartooning, a simplicity at variance from the
frequent richness and detailed accuracy of their backgrounds, which give us a
different sort of narrative information.
49

This is not to say that Fanellis Pinocchio isnt relatable in a similar way; far from it.
There are many different devices that can be employed in order to afford characters a
sense of identity; in this instance, it pertains to the usage of a collaged human eye. We
identify with the icon of the human eye just as much as we identify with the icon of
the simplified human face; they are both symbolic of the human consciousness, and
therefore we pay particular attention to images which exhibit these attributes. An
important technique, then, because of how important it is that we feel an affinity
towards the main character, who is, generally speaking, not only at first otherwise
dislikeable, but also the primary constant throughout all featured images.

3.4 Illustrating the Puppet A Comparison

Now that the styles and sensibilities of both artists have been established, it is worth
studying how using their two very different styles both Mayhew and Fanelli have
illustrated particular instances of the narrative, and whether or not any comparisons
can be drawn about the approaches they have used whilst depicting the same scene.

49
Nodelman, P. (1988) Words About Pictures: Georgia: University of Georgia Press [Pg. 99 / 100]
Fig. 19
30
Here, we see how both Fanelli (Fig. 19) and Mayhew (Fig. 20) have visualised the
scene in which Pinocchio is accosted by the Showman, named Fire-eater. Despite the
differing styles, both images do, in fact, use a number of common devices and draw
importance to similar elements. Particular attention seems to have been given to Fire-
eaters beard, which was like black ink...so long that it reached the ground
50
- this
becomes a central element. Another thing the images have in common is the use of
scale to render Pinocchio diminutive and Fire-eater as an imposing goliath:

The sizes of various objectsinfluence the way we understand [their] relationship
The tendency of large figures to dominate is useful in story situations involving
small creatures threatened by large ones.
51

Juxtaposing scale in this manner helps us to
further identify with Pinocchio in the imagery,
as we as the audience can share in the terror of
being confronted by these daunting, threatening
characters; they overwhelm the space of a page
and command our attention

Notably, both images also use a similar palette;
a dominant red background as well as orange
accents.

Artists can evoke particular moods by using
the appropriate colours[their] emotional
implicationsare particularly clear in
[pictures] in which one colour
predominates.
52

The artists, perceptibly, have chosen red to
symbolise anger and danger; to instil fear. The
orange may not carry similar connotations, but
the usage of it that is to say, of warm colours
carries the impact of the red throughout by
creating a sense of coherent mood lighting. In
this manner, the malevolence can be traced
back to Fire-eater and is thus attributable to
him; in Mayhews image the redness appears to
emanate from him, and in Fanellis image he
appears to coexist with it, via the
aforementioned association with warm colours.

A device that Mayhew uses that Fanelli does
not, however, is the use of shadow, particularly
that which is protruding from Fire-eaters boot,
which seems to cement him within the frame of
the picture and enhance his tall and commanding form:

50
51
52
Fig. 20
31

Shadows tend to suggest the power of the objects that cast them over the objects they
overlapthey usually appear only when illustrators need them to symbolise
something.
53

This technique goes hand-in-hand with the contrast of scale, as Fire-eater fills more of
the picture two whole edges and therefore appears to wield dominion over it the
other characters are merely encroaching on his space.

Shadows aside, for all intents and purposes the two images have largely been
conducted reasonably like-mindedly; in fact, both Fanelli and Mayhew have chosen to
illustrate a number of the major scenes throughout the book in a similarly equivalent
manner. Below are the artists illustrations for Pinocchios trial with the stern-looking
monkey judge; one may readily notice how the
same visual techniques described above also
come into play here.

The images have employed contrast of scale
again, this time to elevate the judges authority
against Pinocchios down-trodden role as the
accused; Fanellis image in particular (Fig. 21) is
especially daunting with its enlarged head and
penetrating gaze.

Oddly, there is also a jointly perceptible use of yellow, a colour generally used to
symbolise hope or happiness.
54
However, yellow is also used to embody cowardice,

53
Fig. 21 Fig. 22
32
or perhaps the most relevant connotation in this situation to symbolise the giving
of caution or a warning; since the use of yellow is muted, it is much more sombre and
therefore less likely to derive from, and therefore be confused with, a more light-
hearted meaning.

One possible issue with Fanellis monkey is that, out of context, one may not be able
to correctly identify the characters occupation as a judge; it is missing much of the
iconography we traditionally associate with men of law, the judges wig and gavel
being the most significant; their absence is exacerbated when comparing the image to
Mayhews (Fig. 22) Pinocchio may just as well be pleading for a loan to Fanellis
angry monkey bank-manager, as the quill and inkwell do nothing to confirm his
position as judge. In this sense, Fanelli has, perhaps, overlooked one of the most
fundamental rules of illustration:

Illustratorsmust assume that their purpose is to provide visual information [such
as]settings and clothing that [are] not merely historically or sociologically
accurate but also almost always symbolic of atmosphere or character.
55

Whilst the above is true, it is also worth bearing in mind that when the image is given
context, the idea that the character is a judge is already a known quality. Fanelli is
therefore offering a manner of non-parallel information to the text, giving greater
concern to expression and action than to detail or description; things that the text is
designed to carry instead. This seems to fall in line with her pursuit for unique
abstraction, affording a looser and less constrained insight that previous illustrators
who adhered more closely to the text perhaps could not; continually freshening up the
portrayal of the story and its characters is, of course, important in the long term.

The following three pages present a brief overview of observed similarities between a
number of other notable scenes (left, Mayhew; right, Fanelli).

54
The connections between blue and melancholy, yellow and happiness, red and warmthappear to
derive fairly directly from our basic perceptions of water and sunlight and fire. Nodelman, P.
(1988) Words About Pictures: Georgia: University of Georgia Press [Pg. 60]
55
33

In this scene, both artists have attempted to personify the piece of wood which
becomes Pinocchio by depicting it with its basic features, such as eyes and a nose.
They also both show Geppetto with his yellow wig, which looked very like a dish of
polenta
56
and depict him wearing white, which perhaps suggests purity and goodness
(supporting his role as a kindly father figure.) Since Mayhew shows Geppetto already
working on the puppet, the lighting and colour is hopeful and optimistic. The empty
darkness in Fanellis illustration is contemplative; Geppetto has yet to decide what to
do with the wood, and the image therefore has a sense of mystery.

56
Fig. 23 Fig. 24
34

Here, the serpent frightens Pinocchio, making
him fall down on his head. The composition of
both images is similar, showing the serpent
outstretched and towering above Pinocchio to the
right, with the puppet upturned in the lower-left.
Both artists have made the column of smoke
coming from [its] tail
57
a minor element which
emanates from the lower-right, instead giving
greater focus to Pinocchios reaction. As
established earlier in this essay, placing Pinocchio on the left in this manner implies
his impeded progress. Although both serpents possess fantastical elements, as
expected Fanellis design is more imaginative; Mayhews is closest to our real-world
perception of a snake.

57
Fig. 25 Fig. 26
35

Pinocchios meeting with Mr. Fish the dolphin is
visualised incredibly similarly by both artists, the
primary difference being Mayhews standard
vertical composition. Both imply a small snapshot
of a greater ocean by using vague edges around
the water, but only Mayhew suggests the same of
the island; Pinocchio looks as though hes
deserted in Fanellis image. Fanelli, however,
further personifies the character of Mr. Fish by
giving him a hat, thus perpetuating her penchant
for visual absurdity.

By observing the examples above, it is apparent that both artists have conveyed key
information presented in the text almost identically, with the core differentiating
factor being their intrinsic stylistic approach. As identified earlier in this chapter, this
is likely down to each artists personal resonance with the text the solidly realistic
and scientifically objective approach by Mayhew at odds with the bizarrely
fantastical, imaginative and mysterious approach by Fanelli with both being a
perfectly viable solution to the same problem. In other words, both illustrators are
merely serving a different flavour of Pinocchio; one which will resonate with
audiences with differing tastes, thus contributing to the universal and continued
appeal of the story a healthy thing indeed.

Fig. 27 Fig. 28
36
CHAPTER 4
The Repurposing of the Puppet

The following chapter will attempt to briefly investigate the success of Pinocchios
translation to another media, specifically animation, via observation of illustrative
devices for characterisation.

Just how well does such a classic story transcend beyond its original context? If
Bettelheim is to be believed, this process is, in fact, anything but successful:

Most children now meet fairy tales only in prettified and simplified versions which
subdue their meaning and rob them of all deeper significance versions such as those
on films and TV shows, where fairy tales are turned into empty-minded
entertainment.
58

This opinion shall be attested by evaluating said filmic representation. Chiefly, the
1940 Walt Disney version shall be examined; the devices it has used in order to revise
the essence of the original story shall be broken down along with the illustrative
techniques it may have employed to convey meaning. This will be supplemented by
comparisons to another filmic version by Golden Films released in 1992.

4.1 The Problem with the Puppet

The Disney version of Pinocchio appears to be so ingrained in the peoples
conscience that many, in fact, often mistake it for the original version of the story.
This makes it an interesting interpretation to study, as, in many ways, a great deal of
artistic license had been had in the treatment of the source material, and in some
regards the tale is thematically at odds with the original; indeed, the largest deviation
is possibly the characterisation of Pinocchio himself.

As alluded to throughout this essay, Pinocchio is traditionally a very impish character,
and the plot of the story focuses much on his development into a more compassionate
individual. However, these attributes would soon pose problems during the process of
conveying the puppet to the big screen. Disney animator Ollie Johnston speaks about
how important it was for the whole family to be able to empathise with Pinocchios
dilemmas:

The audience [had] to be able to identify with [Pinocchio] like you would your own
kidhe had to choose between right and wrong and had a lot of trouble doing
that;something that people could see their own kids doing, and understand from
this picture;[Walt] wanted Pinocchio to bebelievable rather than just a
puppet.
59

58
59
Johnston O. (2009) (audio commentary from Disney, W. and Sharpsteen, B. (1940) Pinocchio [BD]:
Walt Disney)
37
Initially, the team had played with
the idea of retaining Pinocchios
rambunctious demeanour, even
going so far as to suggest that the
character be directly influenced by
Edgar Bergens sharp-tongued
dummy Charlie McCarthy, due to
his popularity at the time
60
; it was
decided, however, to produce their
own, similar character, but this
was met by opposition by Walt
part-way through development:

After about six or eight months
Walt looked at [our progress] and
said, stop working on
iteverybody had to start over
againthats when we begin to
develop the part of the cricket as
Pinocchios conscience; that was
the key to making that picture
work!
61

As this quote by director of animation, Ward Kimball, suggests, remaining faithful to
the original narrative actually hindered progress with the feature, as it was missing
key ingredients that would allow the story to translate coherently. One of these
ingredients was the necessary interactivity between Pinocchio and the character
eventually known as Jiminy this relationship would have been absent in the storys
original context, as Pinocchio squashes the cricket; the cricket is a minor character;
hey Pinoc, you shouldnt be-SPLFFFT hes gone in about two seconds flat!
62
To
fully appreciate the way in which the story was engineered for the screen, it is
pertinent to henceforth evaluate the expanded role of the cricket, and why the
dependence on the development of this character was so essential.

4.2 Pinocchios Official Conscience

It is important to realise that the side-character of the cricket in Walt Disneys version
has been promoted all the way up to secondary protagonist, becoming an intrinsic
main focus and even gaining his own underlying sub-plot. Nowadays, Jiminy seems
to have earned much more star power and lasting appeal than Disneys Pinocchio

60
[In] the original story [Pinocchio] was not innocent at all; he didnt know anything but he was a
real smart-alecthats where we started outone of [the] directors [said], well, why dont we just use
[Edgar] Bergens voice and base the character on Charlie McCarthy? Hes popular, we know what to
do with im, we know the gags hes good at; but the rest of em said, no, lets get our own [puppet]!
Thomas, F. (2009) (audio commentary from Disney, W. and Sharpsteen, B. (1940) Pinocchio [BD]:
Walt Disney)
61
Kimball, W. (2009) (audio commentary from Disney, W. and Sharpsteen, B. (1940) Pinocchio [BD]:
Walt Disney)
62
Maltin L., Goldberg E. and Kaufmann, J. (2009) (audio commentary from Disney, W. and
Sharpsteen, B. (1940) Pinocchio [BD]: Walt Disney)
Fig. 29
38
himself and the root of this popularity becomes readily apparent during the film;
Jiminy takes precedence over Pinocchio in some scenes, and serves as a sort of comic
relief character; he appears slightly bumbling and not entirely efficient at his job at
being Pinocchios conscience:

Jiminy really is the lynch-pin for [the] film, because hes not only the narratorbut
kind of the glue, that holds the whole story together. He also serves as the comedy-
relief; even at the most serious moments hes there kind of making his wise-guy
comments, and that keeps the tone light.
63

A great example of Jiminy acting as the storys glue is that he is a perfect device for
visually (and audibly) symbolising Pinocchios conflicting thoughts; to make up for
an animations lack of accompanying
omniscient text, Jiminy brings the
voice of reason without the narrative
having to physically enter Pinocchios
own head:

We tend to regard Jiminy as the first
and best sidekick character in Disney
films, because he also serves the
function of being a mentorPinocchio
is tempted all the time and Jiminys the
guy who keeps him on the straight-and-
narrow.
64

This role of mentor is significant as it complements the shift in Pinocchios own
personality to one who is nave more than he is naughty; this is amplified by Dickie
Jones vocal work, [which] really got the innocencebut in a charming way; he
doesnt sound dumb, he just sounds totally guileless!
65
But why is this change vital?

As much of Pinocchios struggle to separate right from wrong in the original book
does indeed happen internally within Pinocchios mind, it is for this reason that his
killing of the cricket in Collodis story becomes an issue, as there is no longer a
character for his thoughts to bounce off of in the long term. Contrary to the original
story, Jiminy is and needs to be a character that Pinocchio is, in fact, very eager to
learn from (and relate to). This is also important because it suggests that Jiminy is a
vessel for the audiences empathy as much as Pinocchio is (and in reference to the
earlier quote above by Johnston, Jiminy can be seen as a projection of the parental
figure). The way in which the character was designed may explain how and why this
was so successful:

Originally [Walt] didnt know what he wanted for the cricket and people were
drawing realistic crickets with long hairy legsfinally [Ward Kimball]said, Im

63
64
65
Fig. 30
39
just gonna design himlike, a man with a big egg head, and Walt took a look at it
and went, it looks like my uncle Ed,it was so appealing that Walt said, yep,
thats the design.
66

As bizarre a concept as it may sound, what everyone is theoretically perceiving in the
character of Jiminy is the embodiment of their own uncle Ed. Martin Salisbury
suggests that it is a common phenomenon for a character designer to take inspiration
from (or respond to) traits inherent to a known relative, if even subconsciously:

The way an individual character is born varies the starting point may be detailed
written descriptions of the individuals habits, movements, physical appearance,
clothes and so on; the artist may, consciously or unconsciously, base his or her
interpretation on a real-life acquaintance.
67

Naturally then, it is obvious that Ward Kimball and the team of designers followed
this same process; as mentioned above, they initially responded directly to the text by
producing images with the literal physical appearance of a cricket, and when it was
attempted to make the character more empathetically human by depicting him as a
man, Disney attached himself to its resemblance to his uncle and the design was
green-lighted.

If we were to examine the
appearance of the cricket as seen
in Golden Films adaptation of
the tale (Fig. 31) parallel to
Jiminys (Fig. 30), it is possible
to find many similar design
qualities. Although this cricket is
much more insectoid, he still
retains the same basic human
traits that Jiminy possesses,
especially in regards to his attire:
gloved hands, boots, a bow-tie,
high collar and what appears to
be a tuxedo-style jacket. Its
possible that both teams of animators reached the same design conclusions when
examining the natural appearance of the cricket, as crickets have dark, drape-like
wings with the appearance of a jacket, as well as a section around their neck which
echoes the aforementioned high collar; Ward Kimball had toyed with these ideas
whilst developing Disneys Jiminy Cricket:

[In] early drawings I made for the design of the cricketyou can notice that, he
hashis big high collar because cricketshave some sort of big black collar on
emI brought this [early] character and [Walt] says its not cute enough.
68

66
Walt Disney)
67
68
Walt Disney)
Fig. 31
40
As such, both design teams were playing up certain physical attributes observed from
the insects real-world assets in order to convey a specific meaning; the crickets
dress-sense implies a certain element of sophisticated intellect, which bestows the
character with a certain unspoken authority at odds with his otherwise lowly (or
cute) size:

Illustration is inevitably a representational art, almost / single-mindedly concerned
with the ways things look and the meanings that attach to such
appearances/Cartooning does not accurately depict the way things lookbut it
always conveys attitudes toward its subjects.
69

As alluded to, this attitude is related the crickets ability to command our full
attention in spite of his physical height. When it comes to utilising the cricket, both
Disney and Golden Films play with scale and maintaining his significance when
doing so is important.

In this example from the Golden Films production, although the cricket is spatially
very insignificant he paradoxically remains the focus of our attention through deft use
of composition. Pinocchios line of sight, conveniently augmented by the taper of his
nose, directs our gaze to the upper corner of the scene where the cricket sits atop the
theoretical high-horse of the mantle. The other significant element, the flame of the
fire, creates a three-way relationship together with Pinocchio and the cricket which
creates a hierarchical triangle placing the cricket at the top; it also creates a sense of
balance, suggesting the cricket is in control of the situation:

69
Nodelman, P. (1988) Words About Pictures: Georgia: University of Georgia Press [Pg. 93/94/97]
Fig. 32
41
The various trianglesthat form the compositioncreate balance and orderboth
balance and disruption can contribute to the meaning of pictures. For instance, three
figures related so that they form a triangle with a stable base create less tension than
three figures that form a triangle that stands on a point.
70

Walt Disney manages to employ the same techniques related to scale (as described
above) for the purposes of humour, developing the sensibilities of Jiminys character,
and for highlighting the relationships between the sizes of various other characters,
such as Monstro the whale. One particularly interesting scene involves Jiminy
physically entering a lock with the intent of picking it from the inside, which gives us
a unique glimpse into the world as seen by Jiminy and helps to cement the idea that he
is resourceful as much as he is small:

Size has a lot to do with Jiminys
characterhere, hes small enough
to climb inside that lock; now, is that
consistent with the fellow sleeping in
[a] matchbox? Im not sure, but
the fact is that theyre playing scale
relatively consistentlythe point is
that hes small and that theyre using
that for comic effect.
71

The very contrarian nature of such a
small character simultaneously
commanding a great deal of attention
is what makes them so compelling to the audience and so useful to the directors as a
visual and narrative device; developing the cricket beyond his passing role in the book
is evidently vital for these animated retellings to work; whereas Pinocchio plays off
the reader in its original context, he must play off of the cricket when conveying that
same relationship to a viewer. In response to Bettelheims opinion at the beginning of
this chapter, it is clear that via techniques of characterisation, it is indeed possible for
a filmic piece to become both suitably entertaining and meaningfully impactful
simultaneously.

[Walt] didnt wantthe audience [to] feel that they were watching [drama] solely;
[he] wanted them to be watching an entertainment[;]you could have moments of
great drama, but alwaysleaven them with some sort of humourits possible
because they establish the characters so well;you like [and] care about them, all
the way through the movie.
72

70
71
72
Fig. 33
42
CONCLUSION
The Return of the Puppet

The early artwork by Mazzanti is symbolic of Pinocchios origin; we have seen how
it worked hand-in-hand with the narrative to convey the message that wanted to be
imparted by the author. This version shall forever stand as the benchmark upon which
all iterations are judged, and is found to be a successful rendition in its own right; is it
necessary to consciously avoid this initial iteration when aiming to refresh such a
story?

Evidenced by the approaches both Mayhew and Fanelli have later utilised, it appears
perfectly viable for one to present the tale with an eye to the past as much as with an
eye to the future, based purely on ones personal resonance with the source; whilst
Mayhew at times appeared to be paying homage to Mazzanti, Fanelli was forging her
own path one which, conversely, may never be fully appreciated by those who
refuse to change their preconceptions about the meanings attached to illustrative style.
As explored in Chapter 3, the existence of such divergent approaches can only be a
good thing, as the use of new and old ideas alike can inspire and inform the mindsets
of those who follow their lead or not, as the case may be, for those equally willing
to deviate from them.

Examining the Walt Disney animation in Chapter 4 has taught us that sometimes this
deviation can be major, and visual information may be given an entirely different
significance when applied to an alternative medium. Without the more particular
insights given by an accompanying text, certain elements must take on a much greater
purpose, as seen by the importance of the characterisation of Jiminy Cricket in
directing the audiences empathy. Although animation is situated within a whole
different context, breaking free from our preconceived expectations pertaining to
existing characters and their worlds can be equally useful in maintaining the
diversification of future Pinocchio portrayals.

The implications above seem to be one of discovering alternative ways to subvert or
re-imagine an aging text; tackling a classic like Pinocchio is clearly a challenging
prospect for any budding illustrator, but equally important to its lasting vitality.
Thanks not only to Collodis timeless writing but also in part to the world created by
the sensibilities of its complementary artist, its valuable message will be conveyed
forever more to all future generations of unruly schoolchildren, and is one that they
will hopefully enjoy taking heed to. Appealing to contemporary interests or
objectively presenting a traditional view for future prosperity, whichever form it
should take, all have the potential to remain equally evocative of this moralistic text:

Any picture that has been offered to our attention, especially one found in the context
of a picture book, implies that the image it depicts is significantly meaningful, worthy
of our consideration.
73

73
43
BIBLIOGRAPHY

Bettelheim, B. (1976) The Uses of Enchantment: Great Britain: Thames and
Hudson

Collodi, C. and Harden, E. (1882) Pinocchio: Australia: Consolidated Press

Collodi, C. and Poole, J. (1994) Pinocchio: Great Britain: Simon & Schuster
Young Books

Collodi, C. and Rose, E. (2003) Pinocchio: London: Walker Books

Disney, W. and Sharpsteen, B. (1940) Pinocchio [BD]: Walt Disney (incl.
audio commentary by Maltin, L., Goldberg, E. and Kaufmann, J.)

Eskanazi, D. (1992) Pinocchio [DVD]: Golden Films

Forster, E. (1927) Aspects of the Novel: England: Penguin Books

McCloud, S. (1993) Understanding Comics: The Invisible Art: USA:
HarperCollins

Nicolini, C. (2013) Puppet Power. Illustration Magazine, pp. 8-15, Summer
2013

Nodelman, P. (1988) Words About Pictures: Georgia: University of Georgia
Press

Publishers Weekly (2004) Childrens Book Review: Pinocchio. Available from:
<http://www.publishersweekly.com/978-0-7636-2261-9> [Accessed 19 Feb
2014]

Salisbury, M. (2004) Illustrating Childrens Books: London: A&C Black
Publishers

V&A (2004) V&A Illustrations Awards 2004. Available from:
<http://www.vam.ac.uk/content/articles/v/about-the-winning-artists/>
[Accessed 19 Feb 2014]

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