In this paper I propose to rethink the conditions for analyzing cinematic spectatorship of the documentary/mockumentary beyond the representationalist notion of genre (Neale, 1990; Nichols, 2001; Roscoe and Hight, 2001). The crux of the problem is,  I argue, the understanding of cinematic spectatorship of the real as a meeting of, on the one side the Subject, and on the other the object. This model of representation, as detailed by Deleuze in Difference and Repetition (1968), produce the problem as one of analogy, sameness, opposition and similarity, thus methodologically approachable only through translations and interpretations. Genre theory as contrued on this model consequently produces the spectator-subject as an identifier of the real and the false (as irreconsible categories). Here I propose a methodological rethinking of spectatorship, namely as an affective and entangled spectating event (cf: Massumi 2002; Barad 2007; Deleuze 1990/1969). This, I argue, produce a moving-image-body. Actualized as a singular assemblage where every new relation and intensity produced through the event-body changes the same, the concepts of the moving-imgae-body enables a micropolitical "molecular analysis that allows us to move from forms of power to investments of desire" (Guattari 2009, 284). Thus every moving-image-body can be mapped following the productive force of repetition, that is, through actualizations of virtual in exploration of the production of new images of thought, realiteis and subjectivities.