In this commercial, you are made to feel bad for the lamp through a combination of the sad music playing in the background and a set of tricks used by the director. These tricks cause you to think of the lamp as a human being and thus an emotional response is provoked.

#### Shot 1

This shot is focused on the lamp, letting the audience know it is the object of focus. Soft lighting in the room combined with the lamp being on also reinforce this.

#### Shot 2

The commercial cuts to a closeup of the lamp / over-the-shoulder shot of the woman. Because of the angle of the shot and how the lamp is being held, the audience is tricked in to thinking of the lamp as some poor little kid being carried off, as the lamp looks longingly at its previous place on the end table. The sense of leaving is heightened by the way the camera follows the woman as she walks towards the door.

#### Shot 3

The next cut is from the viewpoint of the lamp, looking back on the end table on which it previously sat. The motion of the camera gives the viewer the sense that this is, in fact, the lamp's viewpoint as it sways in the way we would expect. This scene strengthens the sense of sadness the viewer has for the lamp at leaving the end table. 

#### Shot 4

This shot shows the woman leaving the apartment, still carrying the lamp like a child. As in shot 2, the camera is following the woman, though this time it does not follow the lamp as closely. When the door opens, the wind blows the woman's hair around indicating to the viewer that it is cold and lonely outside while warm and comfy inside.

#### Shot 5

In this shot the woman sets down the lamp on the curb alongside a bag of garbage. The camera then slowly zooms in on the lamp. The proportions of the scene are such that the viewer perceives the lamp to be a child. The way the lamp is tilted conveys to us that the lamp is incredibly sad -- like a person whose head is hanging low. 

One other interesting thing about this scene is it is the first time the viewer sees that the woman was also carrying a garbage bag. This acts as a surprise and, I believe, was useful in two ways. First, the way the lamp was being held when exiting the apartment was like a child. More likely, she was holding the lamp like that because it was the most convenient way to hold it while also holding the garbage bag. Had the audience seen that, it would have lessend the effect. Second, now that the audience *does* have a strong sense of feeling for the lamp, seeing it set out on the curb alongside the trash causes us to further sympathize with the lamp.

#### Shot 6

This is an over-the-shoulder (so to speak) shot from the lamp watching the woman re-enter her apartment. The camera is focused on the lamp with the rest of the scene blurred out. This has the effect of, essentially, simulating tears. It is as if the scene is being viewed from the watery-eyed perspective of the now forsaken lamp. Further, the wind causes the lamp to shake back and forth. This is perceived as a child shivering in the cold.

#### Shot 7

The previous shot fades in to this shot and it is now nighttime, as opposed to daytime in the previous shot. The fade as well as the change in lighting strongly indicate a passage of time. Also, it is raining. Seeing our poor protagonist shivering by himself on a cold, rainy night continues to make us feel sorry for him.

#### Shot 8

In this shot the camera is looking at the woman and her new lamp through the window from the lamp's perspective and slowly zooming in, furthering our sense of sadness and abandonment for the lamp. There is also a strong contrast between the warm, soft lighting in the apartment, and the cold, dark lighting outside. Finally, seeing the man with the umbrella walk by our poor, poor little lamp without so much as looking at him is another cue to the viewer that the little guy has been abandoned.

#### Shots 9-12

In this sequence of shots, the director cuts back and forth between the view from the lamp (closer and closer to the window) and the view from the window (getting closer and closer to the lamp). By switching between these perspectives and moving the camera in this way, we the viewers truly feel how much the lamp longs to be inside, back on his end table. Throughout these shots when we see the lamp, a small, dim light can be seen coming from the lamp's light bulb. It's like the last spark of life, seeping out from him. He has lost his cozy home and now it seems like he is giving up his will to live. In scene 11 this light goes out, indicating to us that our poor little lamp has given up hope and has now passed on to a better place. In scene 12 we see that the woman has shut off her new lamp, but she also goes on to caress her new lamp without so much as a look out the window at her own lamp -- the abandonment is complete.

#### Shot 13

In the final shot, the camera is on ground level with a medium shot of the lamp. It pulls away from the lamp and then tilts up to look at a goofy guy who proceeds to make fun of you for having feelings about the lamp. The effect of this is further heightened by how the camera is looking up at him, as if you, the child, were looking up at an adult telling you that you are being foolish.