Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
:
Login
PEP-Easy Tip: To save PEP-Easy to the home screen

PEP-Web Tip of the Day

To start PEP-Easy without first opening your browser–just as you would start a mobile app, you can save a shortcut to your home screen.

First, in Chrome or Safari, depending on your platform, open PEP-Easy from pepeasy.pep-web.org. You want to be on the default start screen, so you have a clean workspace.

Then, depending on your mobile device…follow the instructions below:

On IOS:

  1. Tap on the share icon Action navigation bar and tab bar icon
  2. In the bottom list, tap on ‘Add to home screen’
  3. In the “Add to Home” confirmation “bubble”, tap “Add”

On Android:

  1. Tap on the Chrome menu (Vertical Ellipses)
  2. Select “Add to Home Screen” from the menu

 

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Kline, T.J. (1998). Alain Berliner's Ma Vie en Rose (1997): Crossing Dress, Crossing Boundaries. Gender and Psychoanalysis, 3(4):435-449.

(1998). Gender and Psychoanalysis, 3(4):435-449

Alain Berliner's Ma Vie en Rose (1997): Crossing Dress, Crossing Boundaries

T. Jefferson Kline, Ph.D.

Alain Berliner's film, Ma Vie en Rose (My Life in Pink) presents the drama of a seven-year-old boy, Ludovic, who frequently dresses like a girl in the belief that his gender has been “mis-assigned” and that he will eventually become a girl. Berliner's fictional presentation of this child and his family is remarkably consistent with the clinical evidence of such cases as reported by Stoller (1968). At first tolerated by his family, his transsexual behavior becomes increasingly unacceptable to his neighbors. After substituting himself for the girl who was to play Snow White in the school play, Ludovic encounters increasingly menacing reactions from his community and attempts suicide by locking himself in a freezer. Thus the character instinctively blurs his fantasy world (the sleeping Snow White frozen in her coffin awaiting the prince's kiss) and his reality (the nearly frozen child waiting in the freezer for rescue). Berliner replicates this blurring at the level of the narrative by insistent confusions between Ludovic's pastel dreamscapes and the film's overly saccharine reality. Thus Berliner offers us two “scripts”: the “clinical” one in which Ludovic learns that the only solution to his gender confusion is to “put his femininity to sleep” until he is old enough to make a gender choice on his own; and the metacinematic one in which the viewer is encouraged to participate in this fantasy of gender blurring in a way that may be quite liberating and that only the particular apparatus of the cinema can accomplish to such a degree.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2019, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.