International Journal of English Language Studies (IJELS) ISSN: 2707-7578 DOI: 10.32996/ijels Website: https://al-kindipublisher.com/index.php/ijels Page | 36 Strategies of Subtitling the Word Fuck in The Wolf of Wall Street Movie Adi Sutrisno 1 * and Nizar Ibnus 2 12 Department of Languages and Literature, Universitas Gadjah Mada, Indonesia Corresponding Author: Adi Sutrisno, E-mail: adisutrisno@ugm.ac.id ARTICLE INFORMATION ABSTRACT Received: December 07, 2020 Accepted: February 21, 2021 Volume: 3 Issue: 2 DOI: 10.32996/ijels.2021.3.2.5 To determine the appropriate strategy for the translation of the word fuck and its variants in audio visual translation is indeed problematic. On the one hand, the translator is required to maintain the beauty of the literary value as reflected in the dialogues, including the usage of offensive swear words; on the other hand, he is obliged to comply with the provisions stipulated in government regulation number 13 year 2014 concerning film censorship agency, especially paragraph 6 article 25 which forbids the usage of vulgar, offensive, racist words that have the potential to ignite public unrest. This research is intended to investigate the choice of translation strategy made by the translator. The method used in this research is descriptive qualitative using data in the form of the word fuck and its variants with The Wolf of Wall Street movie as the data source. This study is also intended to compare the results of a similar study conducted by Hawel (2019) which is about the strategy of audiovisual translation from English to Arabic. The results showed that there are similarities in the frequency of the strategies used, namely omission and softening strategies, which reached 75% and 25% respectively in Hawel's research (2019), and omission and mollification strategies which reached 72.9% and 27.1% consecutively in this study. The word mollification in this research is similar to the word softening in Hawel's (2019). KEYWORDS Translation strategy, audiovisual translation, omission, softening, mollification 1. Introduction 1 The translation of the word fuck and the strategy used by the audiovisual translators to translate the word into Indonesian is problematic as it involves two conflicting views. The first view states that the audiovisual translation must not contain words that are obscene and violate moral norms; while the second one insists that the audiovisual translator is must translate whatever words as they are, with the sole purpose of maintaining the strength of the selected words by the author in the source language (Hjort, 2009). Apart from these two conflicting views, there are still internal conflicts faced internally by the audiovisual translators. On the one hand, they wish to express their freedom to translate any word that is regarded as the strength of a film (Allan and Burridge, 2006, p 13); on the other hand, their hearts remind them of other things that must be considered, such as the cultural values of politeness in the communities where they live (Hjort, 2009). This clash of values put translators into a dilemmatic situation in which they have to decide what strategy to use. Censoring the word fuck or other inappropriate words in the audiovisual translation which are practised in different parts of the world (Rabadan , 2000; Hjort 2009; ternuda , 2004; Roca , 2004) indicates the high attention in the translation of that kind. For example, during Franco's reign in Italy,it is only a literary work by foreign writer and/ or harmless authors which was widely published, such as Richmal Crompton's Just Wiiliam series or Agatha Christie's detective stories. These series do not contain any taboo words. The concern about censorship of swear words was also shown by the audiovisual translators in Finland. These translators have a natural censorship strategy, namely strong self-control against the presence of words that are inappropriate to speak in the source language that are deemed inappropriate for their culture. They believe that words that are inappropriate to utter and have no significance to the plot, especially if the information conveyed can be inferred from facial expressions or tone Published by Al-Kindi Center for Research and Development. Copyright (c) the author(s). This open access article is distributed under a Creative Commons Attribution (CC-BY) 4.0 license