First of all, the music sets the tone for this commercial: slow and melancholy. Second, the camera is moving at all times -- sometimes fast, mostly slow, but always either zooming in or out on the scene (except, notably, during the final punchline). The orientation of the lamp's "head" is used as a mime throughout to express its emotion.


Shot 1: We see a lamp, our protagonist, turned on and casting a warm light onto the couch. The apartment itself is also fairly warm, though it becomes darker (and colder) once the woman comes in and turns off the lamp. In this scene the camera slowly zooms in, probably to help "pull us into" the commercial. 

Shot 2: The lamp is off/dead, and its "face" is dark, with almost no lighting. We're given an over-the-shoulder shot, which does a lot to help anthropomorphize our lamp, in that it appears to be looking back toward where it came from. The camera tracks down the hall with a CU remaining on the lamp, and as the woman walks, the lamp bounces back and forth, making it appear alive.

Shot 3: Lamp's eye view, further reinforcing our belief that the lamp pines for its old life. Again, the camera is pulling away, as if we're the one being torn from our natural habitat.

Shot 4: Lighting is very dark, and the lamp is cast almost completely in shadow. The outside world is cast in much colder light than the apartment. Also subtle is the use of wind in the woman's face. Taken together, these complete the feeling that the world outside is a cold, dark, forboding place for a lamp.

Shot 5: Cold light, contrasting with the bright red of the lamp, which makes it appear all the more out-of-place. The camera is placed at ground level, which makes us identify more with the lamp. That the woman is also throwing out the trash is an obvious clue to us of the final fate of our lamp.

Shot 6: Closer shot. The extremely low, close camera view from over the shoulder of the lamp gives the impression that it's now looking back at its previous owner, and the steps back to its old life. Wind is blowing hard, now, and the lamp rocks -- appearing to shiver in the cold.

Shot 7: Slow fade from scene 6, which makes tells us that a fair amount of time has passed. It's dark now, and raining, and the only light in the scene is that of a street lamp. We only see the lamp in silhouette, and it's completely dark at first. But as the scene goes on, and the camera approaches the lamp, it gets brighter. 

Shot 8: We find out that the reason it gets brighter is because of a new lamp, shining in its place in its apartment. This scene could also be from the lamp's point-of-view. Because the apartment is so brightly lit by the new lamp, it's all we can see in this scene.

Shot 9: The reverse view -- this time we see the lamp. From this distance, it appears very small and insignificant. Its light is only the reflected light of the new lamp.

Shot 10: Closer version of shot 8. Now we can clearly see the new lamp, though its through a rain-splattered window. 

Shot 11: Reprise of shot 9, culminating in complete darkness as the new lamp is turned off.

Shot 12: The camera is in the same position as shot 10. This, I assume is to make sure we get that the new lamp has been turned off. There's almost no light here, save for that in some other room, by which we can see the silhoutte of the woman leaving.

Shot 13: Fade into our final scene, which pulls out from the lamp... and the punchline. The light on the man is from the top down, and camera shoots from a very low angle. These complement the man's condescending attitude and statement very well.