A Circular Analysis of the Italian Simil Sync Technique: the Case of the Reality Game Show The Circle on Netflix

The simil sync technique is an Italian audiovisual adaptation used for factual programmes. In these non-fictional television products based on facts, people are filmed by cameras during activities that refer to the theme of the programme such as learning to do something in coaching shows (i.e. cooking, being on a diet, choosing a wedding dress, etc.) or modernising a house or a garden in makeover shows. The technique is also used for reality shows. The language of factual programmes is usually characterised by overlapping, hesitations and fast-paced interactions. These semi-spontaneous conversations have led primarily broadcasters’ professionals in charge of television content to request a form of adaptation that would have been more suitable for non-fictional dialogues than standard voice-over from adaptors in the dubbing industry: the simil sync modality. First, the aim of the present work is to ascertain whether, in a Netflix reality show that is officially adapted with voice-over, characteristics of simil sync can be found, since the transfer mode is effectively closer to voice-over or simil sync. Second, the study investigates if and how the selected oral features such as interjections, oral discourse markers and pragmatic imperatives are reproduced in the Italian adaptation. Netflix’s public guidelines for the voice-over of unscripted contents were compared with the technical features of simil sync. In the reality show The Circle, participants (each one of them living in their own single apartments) can interact only by a voice activator platform through which they chat. Since players are filmed individually while commenting on a message they have received, overlapping or fast-paced conversations, typical of face-to-face interactions, rarely occur. It may mean that this reality show would resemble more a documentary with the use of talking heads than other non-fictional products. From the transcripts of the episodes, both English and Italian, some examples were analysed, focusing on isochrony, internal pauses and delay/‘hurry’ effects, and on the representativeness of interjections, oral discourse markers and pragmatic imperatives. The results revealed that internal pauses were respected in eight examples out of nine. Isochrony tended to be respected, but, in cases where it was not totally respected, the dubbing voice started with the original soundtrack and stopped before, leaving some words to be heard by the audience (‘hurry’ effect). This is an inverted trend against Netflix’s suggestion of leaving a few seconds of the original soundtrack without translation. In addition, whereas interjections were mainly represented in translation, the discourse makers and the pragmatic imperatives were reduced or omitted. However, the insertion of Italian discourse markers and imperatives reflected the effort to provide a sense of the spontaneity of the utterances. The analysis shows that the adaptation technique is closer to simil sync than voice-over, but further investigation is needed also in order to promote a standard terminology both in Italy and in other national contexts.