About the Team

Based in Florence, Emma-Jane has worked for years as a translator across Italian, English, and French, mostly with historical writing, archive notes, and older administrative material. She did not start out focused on Caribbean estate records, but the subject kept appearing through translation work: land papers, family correspondence, inventories, and legal descriptions that needed more than a straight word-for-word approach.

Her research grew out of that work slowly. She began keeping separate notes on estate names, repeated family lines, and terms that changed meaning depending on whether the document came from Britain, France, Italy, or the Caribbean. Over time, those notes became a private reference system she still uses when working through difficult material.

She is especially interested in how translation changes the shape of a record. A word for land, labour, value, ownership, or management can carry a different weight depending on who wrote it and where it was filed. She tends to work carefully through those shifts rather than trying to make the documents sound smoother than they are.

Emma-Jane works independently, usually from Florence, with occasional research trips when a collection cannot be accessed digitally. She has contributed translations, annotations, and source notes to small research projects, but much of her work remains private, built through commissions, correspondence, and long reading habits.

Based in Budapest, Connor writes fiction and screenplays that often start from historical research but do not stay inside a strict academic frame. He became interested in Caribbean slavery and estate history through questions of point of view: who gets to narrate a place, what survives in documents, and what has to be imagined around the gaps.

His working process is a mix of reading, outlining, and collecting fragments. He keeps folders of letters, estate references, court records, maps, and small details that may never appear directly in a script. He is drawn to material where the same event looks different depending on who is describing it.

Connor has written for independent film projects and longer fiction, usually avoiding a single heroic narrator. His work tends to move between several voices, partial accounts, and scenes that do not fully settle into one version of the past.

He does not present his projects as historical reconstruction. For him, the archive is usually a starting point, not an ending. He works from Budapest, sometimes spending time in Dublin, Berlin, or London when a project needs meetings, research access, or development work with producers.