Throughout this commercial, soft, somber music gives the viewer an expectation that something sad's about to happen.  Also, the directer at no point until the end gives a human face with which the viewer can connect; in the few scenes where the actress's face is shown, it's unlit or out of focus and off-center.  Also, the lamp is the brightest object in almost every scene, immediately drawing the viewer's attention.

Shot 1: Centers on the lamp, and uses color and lighting to enhance the fact that the lamp is the only interesting object in the scene

Shot 2: Also centered on the lamp to give continuity and reinforce that the lamp is important.  The close-up on the lamp gives the viewer a sense of connection to it, and the actress carries the lamp in a very child-like way.

Shot 3: This shot from the lamp's point of view further makes the lamp seem 'alive' and makes the viewer feel more connected.  We know this is from the lamp's point of view, because the actress was facing forward.  The room is very plain and the lighting subtle, so that it doesn't attract attention by itself.

Shot 4 & 5: These shots build the story that the girl's taking the lamp outside, which is depicted with much colder colors & lighting; where the interior is draped with reds and greens, with warm lighting, the exterior shot looks very blue and cold.  Also, some leaves are blown around and whooshing noises are incorporated in the soundtrack so we can understand it's windy, further reinforcing the idea of chilliness.

Shot 6: This is almost a parody of an over-the-shoulder shot; it plays on the viewer's assumed knowledge from seeing this type of camera work in other films.  The girl is shot over the lamp's "shoulder", again reinforcing the idea that it's to be treated as a human.  The girl is also out of focus and far away, whereas the lamp is very close, increasing the viewer's feeling of connectivity to the lamp.

Shot 7: A montage transition is used to suggest the passage of time, and the lighting turns dark while still retaining its cold blues.  A long shot is used here to capture the street, which is quite barren.  This serves to make the lamp seem "lonely", as though there's nothing around for miles.  In the long shot, we can see that the lamp's shade is tilted slightly downward, suggestive of a person with their shoulders hunched.  Rain has replaced the wind to enhance the uncomfortable feeling associated with the outdoors.

Shot 8 & 9: A crane shot up to the window from the lamp's point of view shows a new lamp; this, combined with the moodier music at this point, suggests feelings of jealousy and depression to the viewer.  This viewpoint is intertwined with the reverse shot, emphasizing the distance between the lamp and window.  This suggests feelings of being cut off.  The lighting in the room is still soft, with warm colors.

Shot 10: The shot from the lamp's point of view continues as the girl turns off the new lamp.  This scene is almost entirely unlit, and gives a somber feeling of closure.

Shot 11: Montage transition to the lamp, which now has its neck bent further, suggesting a very depressed human.  Beginning in a medium shot of the lamp, the camera dollies backwards, taking the viewer out of the lamp's point of view, and out of the story.  An actor walks onscreen and delivers the punchline.