Organized by the Riedenschneider Bach Institute, this conference focuses on any topic relating to Bach and music for film, television, video games, commercials, or any other screen media. The proceedings of the conference will be published in the special issues of BACH: Journal of the Riemenschneider Bach Institute. My paper investigates the origins of post-WWII associations of Bach’s music with the fictional  “technological” genius/madman, looking particularly at the 1974 film thriller, The Terminal Man in relation to Glenn Gould’s score for Slaughterhouse-Five (1972)