Transnational Outrage: the death and commemoration of Edith Cavell, Katie Pickles
the director's uneasy position within the feminist canon. Just as these investigations into women working in film open up new and subtle ways of making visible traces of historical presence, other research nuances the argument with work on women as audiences (Karina Aveyard) and the role of the UK women's distributor, Cinema of Women (WOW) to, as Julia Knight argues, make women's film more widely accessible through theatrical release. This collection is essential for anyone researching film history and feminist historiographies. It is edited by two of the leading scholars in the field, who are acutely aware of the lacunae within the existing histories of women's participation in movie cultures across time. The collection offers a methodological cartography for researchers, not only in terms of how to conduct historical research into film, but also as an invaluable guide to how we might facilitate and promote future research into women's participation in screen media not only as actors but directors, producers, scriptwriters, designers, editors, critics, distributors, exhibitors and audiences. In her foreword, Sally Potter describes the purpose of the enterprise ahead as about transformation: 'the transformation of difficulty into opportunity, the invisible into the visible, the silent into the heard' (p. xi) As such, she identifies the central value of this edited collection to make 'our history [become] visible and meaningful' (p. xi)