Shot 1: The camera moves in on the lamp, which is in center frame, as the woman unplugs the lamp and removes it from the table.  The pull-in of the camera communicates an intrusion on the lamp sitting peacefully on the table.  

Shot 2: Close-up on the "head" of the lamp from over the shoulder of the woman as the woman walks towards the door.  The lamp is swaying from side to side.  The shot conveys the sense that the lamp is looking back to where it was once sitting peacefully.

Shot 3: Camera shot that is pulling away from the table in center frame where the lamp was sitting.  The camera has a slight bobbing motion from side to side that mirrors the bobbing witnessed in the previous shot.  This affirms the idea from the previous shot that the lamp is "looking back" at the table where it used to reside.  This form of conscious act by the lamp personifies it as more than an object, which it turn establishes with the viewer that the lamp is aware of its situation. 

Shot 4: The camera is still following the woman as she opens the door outside.  The cold, bluish, and dark exterior is in stark contrast to the room with the table, which was very soft-lighted and full of warm colors.  This establishes that the outside is much more hostile and unwelcoming than the room.

Shot 5: The woman places the lamp on the street curb very abruptly along with a bag of trash.  The color is still cool and there is a strong wind blowing.  The camera is set level with the lamp on the curb as it slowly pulls in to where the lamp now sits.  This puts the viewer in the perspective of the lamp giving us a chance to personably relate with it in its new surroundings.  

Shot 6: The camera is placed behind the lamp and slightly below level with it with the camera angled slightly upwards, framing the stairs of the house as the woman walks back into the house.  The lamp is kept in close-up and in focus.  The shot conveys what the lamp is "seeing" and how transports us into its position.  We in turn begin to have the same emotional sympathies for the lamp as we would have for ourselves in its position.

Shot 7: The cut from the previous shot is a fade to a medium shot of the lamp still sitting on the curb, still from a position that is level with the lamp.  It is now raining, dark, and the mood of the colors is very sad.  The camera remains stationary for a few seconds until the shot is established.  It then begins to pan in, and the lamp's face lightens a little.  Whether this was intentional or not, the subtle casting of light that accompanies the camera's movement inwards conveys a sense that the lamp is once again becoming aware of its surroundings.  The slow cut conveys the passage of time and lets the viewer know that the lamp has been sitting on the curb for some time.  The camera position level with the lamp once again puts it in a similar frame of reference so we can better emotionally connect with its grim surroundings.

Shot 8-12: Two series of shots are inter-cut.  One is from the position of the lamp on the curb, looking up into the house into the window from which a new lamp can be seen sitting on the table where it used to be.  Like shot 3, the camera is placed and angled in a way that makes us think we are viewing the world through the "eyes" of the lamp.  The other set of shots is from the position of the new lamp, sitting on the table inside the house, looking down on the old lamp on the curb.  Like the old lamp, the camera is positioned and angled to infer that we are once again looking through the eyes of the new lamp.  In each shot, the camera is pulling in on the respective lamp that the other is looking at.  This effect establishes that the other lamp is clearly the focus.  The contrast between the camera looking up into the house, and the camera looking down onto the curb illustrates a sort of superiority of the new lamp over the old lamp.  

Shot 13: In the final shot before the punchline, the camera is once again placed level with the old lamp on the curb.  The lamp is angled downwards as though it were hunched over.  The effect is a very sad-looking lamp.  The camera pulls back from a close-up of the lamp to a more medium shot that conveys a feeling of loneliness on the lamp.