I have typed Fellini according to descriptions of those who knew him; Gore Vidal (ILI) describes Fellini at some length in his memoirs, Point to Point Navigation, and I have read the memoirs of another author who dealt with him, George MacDonald Fraser. The only type I can see making sense is SEI. I think it fits his approach to filmmaking; for instance, it's all about how it all looks; that's also his criterion for choosing actors, especially for minor roles.
On Hitchcock, I read once a book-length interview of him by Francois Truffaut; the two discuss Hitchcock's films at length. Hitchock was remarkably casual about changing the script, or even the whole point of the story; he himself admitted that the details of the screenplay - on a scene-by-scene basis - of North by Northwest make no sense. For him, it was all about using image to cause an emotional response.
What is common about Orson Welles, Hitchock, Fellini, and Lucas, is the higher care given to things like background music, cinematographic effects, colors, etc, than to anything they might want to convey in the plot, which they approach in a more casual way. According to Vidal, Fellini did not even have a problem about changing dialogues totally between the filming and the post-filming dubbing.
I'm not sure at all that SEIs would just want to convey "feel-good" and conforting images when making a film. I think that's a limited view of SEIs. I mean -- if we agree that Lucas is SEI. Are all scenes, even all movies, by him "feel good"? What about THX-1138?
I think that kind of "disconnected" imagery is more than . He's focusing on the effect on a moment-by-moment basis, not on the overal connection.
If he has at least as much as , I think that doesn't speak against SEI. Have you seen how many takes he did for the shower scene in Psycho? 37 or seomething? In painful detail, wanting the precise effect? That's more a than person imo.
Also, again, Hitchcock himself did not care about what he was telling, in terms of the story -- which is unlike imo.
Why wouldn't the "first kind" be actually IEIs?
I think you are correct to a large extent; the EJ directors are more like the "craftsman" kind of director, the guy who's good at making pretty much any kind of film efficiently, but doesn't have any distinctive "mark". I think Richard Donner - who I'm convinced is a Te dominant, from interviews and videos - is one example. He put together the original Superman film, The Omen, as well as the Lethal Weapon series. A competent director, but not a really memorable one.
I think the IP directors are those who, due to their or , and - in the case of the ego types - an awareness of how to cause an emotional response, are those who are the most "author" directors.