Taboo and Sensitive Language in Inclusive Subtitles: Gauging Tolerance Thresholds in a Maltese Context

Authors

  • Kimberly Cutajar

    IAM (Inclusive Arts and Media) Research Lab, University of Malta, 2080 Msida, Malta
  • Giselle Spiteri Miggiani

    Department of Translation, Terminology and Interpreting Studies, University of Malta, 2080 Msida, Malta

DOI:

https://doi.org/10.30564/fls.v8i1.12215
Received: 23 September 2025 | Revised: 5 November 2025 | Accepted: 6 November 2025 | Published Online: 14 January 2026

Abstract

Malta’s localization practices largely rely on inclusive subtitles in English or Maltese, a combined translation–accessibility solution that delivers linguistic, cultural, and sensory access in line with a universalist approach. This article reports an in-depth reception study designed to gauge Maltese viewers’ tolerance thresholds for taboo and other categories of sensitive language in inclusive subtitles, with the aim of corroborating or refining local subtitling guidelines. Drawing on clips from US English TV shows streamed on Netflix, respondents compared paired subtitled versions that employed four distinct strategies—attenuation, equivalent impact, omission, and aggravation—across varied genres, contexts, characterizations, and functions of taboo language. The online survey combined immediate reactions with subsequent, more reflective responses; qualitative findings were analyzed alongside demographic variables (age, gender, education, locality). Contrary to expectations derived from earlier work suggesting general acceptance of vulgar expressions, results indicate a clear overall preference for attenuation strategies for expletives irrespective of taboo category or narrative context. Complete omission emerged as the favored approach specifically for blasphemous language. As for sensitive language concerning sexual orientation, race, and mental health, participants initially preferred the less derogatory renditions, though this preference was less pronounced than with other taboo categories. Notably, when respondents were prompted to focus on these sensitive topics and reflect, their responses shifted and became more contemplative, producing subtler and more varied stances. Responses also became more nuanced when participants considered a hypothetical policy on vulgar language in Maltese inclusive subtitles. These findings support targeted adjustments to local guidelines, emphasizing attenuation for expletives and omission for blasphemy, while recommending context-aware policies for other sensitive categories.

Keywords:

Inclusive Subtitles; Tolerance Threshold; Sensitive Language; Taboo Language; Reception Study

References

[1] Netflix, 2022. Timed text style guide. Available from: https://partnerhelp.netflixstudios.com/hc/en-us/articles/215758617 (cited 14 September 2025).

[2] Amazon, 2025. Captions and/or timed text. Available from: https://videocentral.amazon.com/support/delivery-experience/timed-text (cited 14 September 2025).

[3] Curteis, I., 1991. A television dramatist’s view. In: Hargrave, A.M. (Ed.). A Matter of Manners? The Limits of Broadcasting Language. John Libbey: London, UK. pp. 53–56.

[4] Ofcom, 2021. Public attitudes towards offensive language on TV and radio: Summary report. Available from: https://www.ofcom.org.uk/siteassets/resources/documents/research-and-data/tv-radio-and-on-demand-research/tv-research/offensive-language-summary-report.pdf?v=326909 (cited 14 September 2025).

[5] Díaz Cintas, J., Remael, A., 2021. Subtitling: Concepts and Practices. Routledge: London, UK.

[6] Ávila-Cabrera, J.J., 2016. The treatment of offensive and taboo language in the subtitling of Reservoir Dogs into Spanish. TRANS: Revista de Traductología. 20, 25–40. DOI: https://doi.org/10.24310/TRANS.2016.v0i20.3145 (in Spanish)

[7] Bednarek, M., 2019. The multifunctionality of swear/taboo words in television series. In: Mackenzie, J.L., Alba-Juez, L. (Eds.). Emotion in Discourse. John Benjamins Publishing: Amsterdam, The Netherlands. pp. 29–54.

[8] Xavier, C., 2024. Swearing in the movies: Intratextual and extratextual functions of taboo. Anglosaxonica. 22(1), 1–15.

[9] Guillot, M.-N., 2023. Doing swearing across languages: The curious case of subtitling. Journal of Pragmatics. 215, 41–54.

[10] Bucaria, C., 2009. Translation and censorship on Italian TV: An inevitable love affair? Vigo International Journal of Applied Linguistics. 6(1), 13–32.

[11] Beseghi, M., 2016. WTF! Taboo language in TV series: An analysis of professional and amateur translation. Altre Modernità. 15, 215–231.

[12] Hjort, M., 2009. Swearwords in subtitles: A balancing act. inTRAlinea. Available from: https://researchportal.helsinki.fi/en/publications/swearwords-in-subtitles-a-balancing-act/ (cited 14 September 2025).

[13] Díaz-Pérez, F.J., 2020. Translating swear words from English into Galician in film subtitles: A corpus-based study. Babel. 66(3), 393–419.

[14] Ávila-Cabrera, J.J., 2023. The Challenge of Subtitling Offensive and Taboo Language into Spanish: A Theoretical and Practical Guide. Multilingual Matters: Bristol, UK.

[15] Tveit, J.E., 2004. Translating for Television: A Handbook in Screen Translation. Linguistica Antverpiensia, New Series – Themes in Translation Studies. 3. DOI: https://doi.org/10.52034/lanstts.v3i.122

[16] Díaz Cintas, J., 2003. Words matter: Sensitive language in the media. In Translating Europe Workshop, Niktbu għal kulħadd. Inclusive Language and Accessible Content: The State of Play in Malta. University of Malta Valletta Campus: Valletta, Malta.

[17] Greco, G.M., 2019. Towards a pedagogy of accessibility: The need for critical learning spaces in media accessibility education and training. Linguistica Antverpiensia, New Series: Themes in Translation Studies. 18, 23–46. DOI: https://doi.org/10.52034/lanstts.v18i0.518

[18] Greco, G.M., 2018. The nature of accessibility studies. Journal of Audiovisual Translation. 1(1), 205–232.

[19] Barbara, C., Scicluna, S., 2002. Youth Speak: A Study on Youth and Language in Malta. Parliamentary Secretariat for Youth and Sport: Floriana, Malta.

[20] Scerri, K., 2006. The Language of Young People in Malta: A Sociolinguistic Perspective. University of Malta: Msida, Malta.

[21] Bellia, A., 2014. Attitudes Towards Swearing in Malta. University of Malta: Msida, Malta.

[22] Taliana, W., 2021. Exploring Viewer Reception of the Spanish Netflix Series La Casa de Papel with Maltese Inclusive Subtitles [Master’s Thesis]. University of Malta: Msida, Malta.

[23] Pina, Á., 2017. Money Heist. Available from: https://www.netflix.com/title/80192098 (cited 14 September 2025). (in Spanish)

[24] Spiteri Miggiani, G., 2021. Proposed guidelines for inclusive interlingual and intralingual subtitles in a Maltese context. Available from: https://www.iamresearchlab.net/guidelines (cited 14 September 2025).

[25] Spiteri Miggiani, G., 2024. Inclusive subtitles for all: Developing practices and guidelines for accessible media content in newly experimenting territories. London Journal of Humanities and Social Sciences. 24(7), 31–52.

[26] Bugeja, N., 2021. Subtitling the Italian RAI Production Tutto può succedere into Maltese: A Reception-Based Experimental Study [Master’s Thesis]. University of Malta: Msida, Malta.

[27] Mangion, A., 2022. Subtitling the Spanish Netflix Series ¿Quién mató a Sara? into Maltese: A Reception Study [Master’s Thesis]. University of Malta: Msida, Malta.

[28] Di Giovanni, E., Gambier, Y. (Eds.), 2018. Reception Studies and Audiovisual Translation. John Benjamins Publishing: Amsterdam, The Netherlands.

[29] Kuscu-Ozbudak, S., 2021. The role of subtitling on Netflix: An audience study. Perspectives: Studies in Translation Theory and Practice. 30(3), 537–551.

[30] Nikolić, K., 2018. Reception studies in audiovisual translation – interlingual subtitling. In: Di Giovanni, E., Gambier, Y. (Eds.). Reception Studies and Audiovisual Translation. John Benjamins Publishing: Amsterdam, The Netherlands. pp. 179–197.

[31] Szarkowska, A., Ragni, V., Orrego-Carmona, D., et al., 2024. The impact of video and subtitle speed on subtitle reading: An eye-tracking replication study. Journal of Audiovisual Media Translation. 7(1), 1–23. DOI: https://doi.org/10.47476/jat.v7i1.2024.283

[32] Wu, Z., Chen, Z., 2022. Towards a corpus-driven approach to audiovisual translation (AVT) reception: A case study of YouTube viewer comments. Journal of Specialized Translation. 38, 128–154.

[33] Saldanha, J., O’Brien, S., 2013. Research Methodologies in Translation Studies, 1st ed. Routledge: London, UK.

[34] Yorkey, B., 2017. 13 Reasons Why: Beyond the Reasons. Available from: https://www.netflix.com/title/80996791 (cited 14 September 2025).

[35] Willimon, B., 2013. House of Cards. Available from: https://www.netflix.com/title/70178217 (cited 14 September 2025).

[36] Kohan, J., 2013. Orange Is the New Black. Available from: https://www.netflix.com/title/70242311 (cited 14 September 2025).

[37] Dubuque, B., Williams, M., 2017. Ozark. Available from: https://www.netflix.com/title/80117552 (cited 14 September 2025).

[38] Dewaele, J.-M., 2004. The emotional force of swearwords and taboo words in the speech of multilinguals. Journal of Multilingual and Multicultural Development. 25(2–3), 204–222.

Downloads

How to Cite

Cutajar, K., & Spiteri Miggiani, G. (2026). Taboo and Sensitive Language in Inclusive Subtitles: Gauging Tolerance Thresholds in a Maltese Context. Forum for Linguistic Studies, 8(1), 68–83. https://doi.org/10.30564/fls.v8i1.12215

Issue

Vol. 8, Iss. 1 (January 2026 in progress)

Article Type

Article

License

Copyright © 2026 Kimberly Cutajar, Giselle Spiteri Miggiani

Creative Commons License

This is an open access article under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License.