Screen cap from promotional trailer.
form y The Howling III single work   film/TV   fantasy   horror  
Issue Details: First known date: 1987... 1987 The Howling III
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AbstractHistoryArchive Description

In this unusual take on the traditional werewolf story, a race of humanoid marsupials is discovered deep in the Australian bush. A sociologist studying this seemingly new species falls in love with one of the women, and removes her from her isolated lifestyle--with dangerous results.

The film bears no connection (either in plot, location, or cast) to its putative predecessors, The Howling and The Howling II.

Notes

  • The trailer for this film is available to view on YouTube: http://www.youtube.com/watch?v=MrNCGVO84w0 (Sighted: 1/6/2012).

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Aussie Monster Movies : Six Terrifyingly Beastly Fright Fests Erin Free (editor), 2016 single work column
— Appears in: FilmInk , 27 August 2016;
Australian Eco-Horror and Gaia's Revenge : Animals, Eco-Nationalism and the 'New Nature' Catherine Simpson , 2010 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 1 2010; (p. 43-54)

'We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston, 1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.'

Source: Publisher's blurb.

Werewolves Du Jour Philippe Mora , 2010 single work essay
— Appears in: Australian Perspectives Essays 2010;

'Philippe Mora on the Making and Selling of Australian Myth' (Source : Blurb)

Aussie Monster Movies : Six Terrifyingly Beastly Fright Fests Erin Free (editor), 2016 single work column
— Appears in: FilmInk , 27 August 2016;
Werewolves Du Jour Philippe Mora , 2010 single work essay
— Appears in: Australian Perspectives Essays 2010;

'Philippe Mora on the Making and Selling of Australian Myth' (Source : Blurb)

Australian Eco-Horror and Gaia's Revenge : Animals, Eco-Nationalism and the 'New Nature' Catherine Simpson , 2010 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 1 2010; (p. 43-54)

'We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston, 1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.'

Source: Publisher's blurb.

Last amended 26 Jul 2012 14:55:44
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