Abstract
In Collodi’sLe avventure di Pinocchio(1883) and Barrie’sPeter and Wendy(1911), the little girls’ characters – the fairy and Wendy – do grow up, adopting the roles of ‘surrogate mothers’ for the heroes. Playing the mother to excess, they challenge gender hierarchy. It is therefore less a transgression of rules than it is a subversion of values. Disney’sPinocchio(1940) andPeter Pan(1953) advocate order and obedience, thus doing away with the freedom of childhood. Garrone’sPinocchio(2019) and Zeitlin’sWendy(2020) mitigate gender stereotypes, but the disturbing ambivalence of the girls disappears, in favour of more univocal characters.
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