Federico Fellini now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric". As a consequence, Jung's seminal ideas on the "anima" and the "animus", the role of archetypes and the collective unconscious directly influenced such films as "8½" (1963), "Juliet of the Spirits" (1965), "Fellini Satyricon" (1969), "Casanova" (1976), and "City of Women" (1980). Other key influences on his work include Luis Buñuel, Charlie Chaplin, Sergei Eisenstein, Buster Keaton, Laurel and
Federico Fellini celebrated Catholic teachings, whereas others were critical or ridiculed church dogma. While Fellini was for the most part indifferent to politics, he had a general dislike of authoritarian institutions, and is interpreted by Bondanella as believing in "the dignity and even the nobility of the individual human being". In a 1966 interview, he stated, "I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual. But for the rest, I am not prepared nor do I plan to become interested in politics." Despite various famous Italian actors favouring the Communists, Fellini