Analisis Haiku dalam Film Tokyo Godfathers

Abstract

This article analyzes three haiku in the animated film Tokyo Godfathers (Satoshi Kon, 2003) to explain their meaning and function in the narrative structure. A qualitative–descriptive design employs two steps: (1) heuristic–hermeneutic reading of the haiku (identifying kigo/kireji; literal and connotative meanings); and (2) structural analysis mapping each haiku to the plot (setup–confrontation–resolution) by its point of appearance, causal links, and character change. Primary data are the film and haiku transcripts; secondary data cover haiku studies and film narratology. Findings shows that the first haiku marks the birth of the mission on Christmas Eve; the second offers maternal encouragement at mid-plot; the third closes accounts on New Year’s Eve. Together the haiku act as act markers, strengthen the home–return motif, and steer character transformation: Hana reconciles with her foster mother and returns Kiyoko, Gin faces his daughter, and Miyuki makes peace with her father.