费里尼的中后期电影精于文化史的想象和梦境的塑造，但未被学界充分注意到的是，其中文化史的想象建立在费里尼自觉的现代主义艺术想象和原型理论基础之上。本文将借助较为新颖、未被充分发掘的资料《梦书》，梳理费里尼中后期电影中的心理意象。其次，费里尼的中后期部分电影存在着众多古今欧洲文化史想象的对照组合。此外，费里尼电影中塑造的个体形象与分析心理学中“集体无意识”、“阿尼玛”、“阿尼姆斯”等元素编码有着密切的相关性。本文借助全新释出的文献资料和原有文本内容，聚焦于讨论量较少的费里尼60年代之后的中后期电影，对费里尼具体电影中的文化史挪用、原型想象、古今意象及其手法加以分析说明。本文分为三个部分，首先对于费里尼电影的文化原型概念加以解读，对相关的心理学概念进行阐释；其次，本文聚焦于阿尼玛与阿尼姆斯的性别原型世界，对费里尼的电影形象进行拆解。

Fellini's middle and later films are good at the imagination of cultural history and the shaping of dreams, but what has not been fully noticed by the academic world is that the imagination of cultural history is based on Fellini's conscious modernist artistic imagination and analytical psychology logic. This paper will use the relatively new and underexplored material "Dream Book" to sort out Fellini's middle and later films in the mental image. Secondly, Fellini's films in the middle and later periods contain a large number of imaginative combinations of ancient and modern European cultural history. In addition, the individual image created in Fellini's films is closely related to the coding of elements such as "collective unconscious", "Anima" and "Animus" in analytical psychology. With the help of newly released documents and original text content, this paper focuses on Fellini's middle and late films after the 1960s, which are less discussed, and analyzes and explains the appropriation of cultural history, archetypal imagination, ancient and modern images and their techniques in Fellini's specific films. This paper is divided into three parts. Firstly, it interprets the concept of cultural archetype in Fellini's films and explains the related psychological concepts. Secondly, this paper focuses on the gender archetypal world of Anima and Animus, and disassembles Fellini's film image.