Taiwan saw the rise of Social Realist Film (shehui xieshi dianying, aka. Taiwan Pulp), a popular genre dominated by extreme violence and eroticism from the late 1970s to early 1980s. Although the theme of female revenge plays a significant role in these films, the existing literature does not pay much attention to the genre’s representation of female sexuality and women’s issues. This article re-examines the rise of female revenge films and ways in which social changes starting from the mid-1970s help shape women’s image in this genre. The first part of the article situates female revenge films in the “sex versus art” discourse from the mid-1970s to explore social realist films’ defense of its erotic appeal. While media and popular culture were gradually flooded with sexual images during the second half of 1970s, women’s social status also went through drastic transformation—more and more women joined workforce starting from the late 1960s and unofficial feminist movements began to appear—which forced the society to face the conflicts between growing feminist consciousness and traditional male-dominated world. Through the analysis of the bold and transgressive female avengers, with a specific focus on Yang Jia-yun’s Lady Avengers (1981), the article further discusses ways in which the genre reflects emerging women’s issues during the 1970s and 1980s, and the society’s conception and critique of the new woman.