This book explores Pinocchio's hybrid nature -- between mechanical and human -- as a creature of a century traversed by an eager cultural interest in dummies, puppets, and marionettes, a score of mechanical bodies bearing relation with contemporary technological advancements, and leading to a sustained enthusiasm for machines understood as mechanical facilitators of modernity. Pinocchio becomes a symbol of modernity, whether explicitly or implicitly, in both older and more recent studies, highlighting the "generative" qualities of Collodi's text, as well as the puppet's status as archetype, model, and, metaphor. The study focuses, on the one hand, on the Pinocchio figure and its "remediations" across time and, on the other, by illuminating both the wider context as well as the more specific genesis and manifestations of the mechanical-human interface in the domains of theatre, the fine arts, literature, radio, film, and virtual reality, where Pinocchio is remodelled from cultural fossil into avatar of a non-mechanical reality, coherently with the digital metamorphosis of our times. The interdisciplinary approach of this volume considers nineteenth-century Italian literature, nineteenth-century French literature and drama, children's literature, German and Italian drama, contemporary British visual arts, and international film to explore the significance of Pinocchio in the twentieth and twenty-first centuries.