1) All of them:
2) None of them:
3) A deceptive cadence isn't actually a cadence (in the same way a false recapitulation isn't actually a recapitulation), and establishes nothing, though it can use the second chord as a pivot:
1) The deceptive cadence, 'G7 – F6/3', isn't analysed as 'II7 – I' in F, it's 'V7 – VI6–' in C. The second chord, by the way, isn't said to be functioning as a first inversion subdominant; it is a submediant with a suspended or substituted tone—what you call it depends on how it resolves—since it's functioning as a tonic substitute, and not a predominant harmony; this sort of thing can happen whenever the bass expresses the function strongly, and the fifth above isn't essential to conveying this function; in this case, the scale degree 5 to scale degree 6 move in the bass expressing a deceptive cadence.
2) The progression modulates through the Am region, after the first G major chord, to Em (the progression of the first three chords is on a C–G spectrum, since they're contrapuntal). If you're calling 'Dm6/3 - E - Am6/3' a deceptive cadence because the Am isn't in root position, it isn't the same as the deceptive cadence in no. 1 (usually, people call the one in no. 2 an evaded cadence, instead).