ABSTRACT
There are mainly two kinds of films and accordingly two approaches to filmmaking in India. The first approach is to make films primarily for mass entertainment and the second one is an alternative to the well-established, popular form, wherein filmmakers seek to make individual statements. This dichotomy is seen not only in Hindi, but in all Indian films. Therefore, to obtain a comprehensive picture of screenwriting in India, a juxtaposition of these two streams in terms of the sources of their narratives and internal dynamics with the changing times is necessary.
