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I have a strange affection for this movie, even though the first time I saw it was in the unbelievably cut-down British vhs version, reduced to just 66 mins. in length. Even in that incarnation, it still retained a fair amount of its power to raise an eyebrow; although maybe this even helped to make the movie seem more salacious, as the presence of one obvious cut after another left the viewer to imagine just how grim and grisly the film's (evidently plentiful) unshowable 'horrors' might be!

I think you're right to highlight the incest element, and I'd probably go even further to say that Andrea Bianchi was a director who approached just about every movie he made during this period as though it was porn: his giallo STRIP NUDE FOR YOUR KILLER (1975) ends with, of all things, a 'rear entry' joke; his MALABIMBA (1979) again highlights incest as a central theme and contains a sequence that rivals the breast-chewing in BURIAL GROUND for shock value in this regard (in the uncut version, at least!); and even his hardcore feature DOUBLE DESIRE (1985) seems to inhabit a realm somewhere between a legitimate 'schizophrenia shocker' and all-out porn.

Possibly this approach is clearest in the rather 'flimsy', 'thrown-together' structure of these movies - one of the elements about which many have complained with regard to BURIAL GROUND and MALABIMBA in particular. The films are structured less as fully-developed narratives and more as a sequence of 'scenes', each of which leads to a 'money-shot', before moving onto the next 'scene'; this is precisely the structure of porn, transferred in a very literal way to present a cavalcade of loosely-linked horror/gore/shock sequences, some of which indeed cross the line into porn(ish) territory.

You mention in your blog that Mariangela Giordano furthermore appeared in SATAN'S BABY DOLL (1982), but she of course also featured prominently in Bianchi's MALABIMBA (1979): the connection here being that all three movies (including BURIAL GROUND) were produced by Giordano's life-partner of many years, Gabriele Crisanti, who ensured Giordano was cast in each of the films. This is a reminder, perhaps, that these thematically-linked movies were produced by a relatively small group of Italian filmmakers whose output frequently crossed back and forth between (and often mixed elements from) extreme horror, softcore and hardcore pornography, as well as extreme mondo flicks: other movies produced by Crisanti include the notorious GIALLO IN VENICE (1979, once again with Mariangela Giordano) and MONDO CANE TODAY (1985). Of course, that's not to say the phenomenon of horror/porn crossover was limited solely to this group of filmmakers in Italy: one need only to think of Joe d'Amato to realise that wasn't the case.