City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2012 Citizen Bunker: Archie Bunker as Working-Class Icon. Kathleen Collins CUNY John Jay College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/125 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact:
[email protected] Citizen Bunker: Archie Bunker as Working-Class Icon Kathleen Collins In 1968, American television producer Norman Lear read a Variety review of the British sitcom Till Death Do Us Part, which featured a bigoted working-class man and his family living in London’s East End. The show’s concept—especially the notion of a father and son-in-law in constant political and ideological conflict—struck a chord with Lear, and he went about getting the rights to produce an American rendition in the U.S. The result was one of the most popular television programs in U.S. history, All in the Family (1971–1979 CBS). Elemental to any study of All in the Family is a survey of the time period in which it aired and which it conveyed. Working class representation on television was meager in the late 1960s and early 1970s, and Lear’s project loudly broke the silence. The show provided opportunities for discourse about class, race, gender, ethnicity, and stereotypes of all stripes. It was a show about a working class man who—paradoxically or not— viewers saw only in the context of his family and who was ambiguously proffered as a hero and anti-hero.