In Porcile the functioning of incompossible chrontopes reaches a baroque stage of differentiation. Pasolini proliferates non-relations between images (Wirtschaftswunder Germany and another red desert) and within images (Wirtschaftswunder Germany and the Italy of the il miracolo economico — a non-relation effected by casting and the use of bourgeois Italian talk.) Perhaps the most differentiated gap between images comes within the volcanic red desert which splits itself into Rossellini’s Stromboli Terra Di Dio (1949.) Both involve a figure’s absolute rupture with the social order figured by the violence of Mount Etna. Stomboli floats above Pasolini’s image which reveals what is at stake in Bergman’s breakdown but which Rossellini could not bare.